Vladimir Putin: The Poster Boy at Sochi

Vladimir Putin: The Poster Boy at Sochi

Conceptual artist and cultural critic Charles Steelman is fed up with today’s politicians behaving like sullen teens. He thinks their outsized egos and penchant for bullying their way to grandiosity is now totally out of control and instead of looking after the best interests of those who elected them into office they resort to blackmail if their capricious demands are not met.

Hmmmm, sounds familiar now that you think of those who can’t get their way so they shut down the government and close bridges and restrict people’s ability to vote. Maybe Steelman has a point, as he addresses the masculine  / feminine continuum in his new image online satire that pokes fun at Putin’s problem with the LGBT community.

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Penis Riot (image © Charles Steelman)

Says Mr. Steelman in his description of his new project “Penis Riot!”:

“PENIS RIOT!!! is about softening the hyper-masculine images that dominate today’s politics. From America to Russia, politicians have adopted a “by any means necessary” approach to governance, an approach which is largely self-serving and under-represents those who it claims to favor. Our democracies have become playthings for perverted egos. It is time for those men to get on their knees and pray for forgiveness. Less dick pics, more pussy licks.”
– CH

As part of his Penis Riot project Steelman will be releasing a new photo illustration along with the original photo each day for the duration of the Sochi Olympic Games. Below are day 1 and 2 images. For daily updates click the link after the photos.

 

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Penis Riot (image © Charles Steelman)

http://aeiouideas.tumblr.com/post/75700627833/penis-riot

 

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“I’m In Miami Bitch”, Andrew Kaufman photographs Wynwood

“I’m In Miami Bitch”, Andrew Kaufman photographs Wynwood

A. It has a good name, and
B. It’s the way Wynwood feels every year during Art Basel and this self published book by photographer Andrew Kaufman captures the excitement unpretentiously.

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

In the fall of 2012 Kaufman began walking the streets with camera in hand in what used to be called “El Barrio”, shooting the murals of the international Street Art magnet called the Wynwood District. The previously low-income and light manufacturing neighborhood had been transforming itself as a destination in the shadow of the decade old art fair across the water in Miami Beach. He discovered artists from in town and around the world painting walls side by side and a palpable thrill in the air in this 20 square block public space like none he had previously experienced.

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

“Every year in late November artists from around the world descend on the streets of Wynwood to remake the façade of almost every building, overhead door and nook or cranny where paint could be applied,” he says in this image packed softcover. He doesn’t try to romance it, he just lays it open for you to take a look and to possibly feel what it was like for him for a few weeks talking to artists, interviewing locals and pilgrims and internationally known names as they painted, listened to music, traded stories, passed a joint, ate barbecue, and got distracted by the bikinis, parties, hammocks and lawn chairs.

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

In a down-to-earth way Andrew steers clear of grandiosity or otherwise put a self-serving spin on the scene. He learns just by asking questions and taking photos, with highlights including conversations with Kenny Scharf, DAZE, and BooksIIII Bischof, who lays bare the conflicting feelings of local graff writers who had already been organizing and slamming walls organically for a handful of years before the real estate developer Tony Goldman brought his economic heft to flood the scene with international Street Artists.

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

The rapid change that neighborhood has undergone the other 11 months of the year has created rifts between the locals and the well-heeled newbies, and its good that Kaufman gives airtime to those perspectives as well, diplomatically describing the power struggles as “growing pains”. While some characterizations may be a bit naïve at times with statements like “there are no curators, no rules,” he still captures the near spiritual  peregrination of idealist artists from around the US who hop trains and buses or hitch-hike to a warm sunny climate at the end of November with little more than a desire to find a wall to paint and a couch to crash on.

I’m in Miami Bitch is a personal account of the zoo and the spectacle and an historical capture of a moment on an evolutionary timeline that will become more valuable as the inevitable cultural seachange in this Miami neighborhood takes place and the presumptive commodification and gentrification runs its full course. For the moment you can still catch the crazy collaborative creative magic yourself just by showing up. But if you can’t, Kaufman is happy to share his sense of magic with you.

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

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Andrew Kaufman “I’m In Miami Bitch” ( photo © Jaime Rojo)

Included in the book are works by Cite, Crayola, Dabs and Myla, Ewok, Pia, Fumerosim, Pose-MSK, Aimer, Patch Whiskey, La Paneilla, Kenny Scharf, Blink, Torek, Daze, Pez, Gorey, and about 50 more artists. For more information about I’m in Miami Bitch, cliek HERE.

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Images Of The Week: 02.09.14

Images Of The Week: 02.09.14

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Maya Hayuk on the Houston Wall this week got tagged mid-job, took a moment and repaired and continued on to completion in signature glowing dripping geometrically teXt-driven style, Ben Eine ISHued a jab at entertainment culture, and QRST made a reappearance with a hand-rendered reminder of temporality on a bus stop, saw his shadow and went back into a hole.

Here’s our weekly interview with the street, this week featuring Alice Pasquini, Ben Eine, Bone, Bradley Theodore, Ellis G., Issa, Jilly Ballistic, Maya Hayuk, and QRST.

Top Image >> Fashion profiler Bradley Theodore depicts Diana Vreeland as social x-ray (photo © Jaime Rojo)

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Maya Hayuk. Houston Wall. Detail. (photo © Jaime Rojo)

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Maya Hayuk. Houston Wall. Detail. The beginning. (photo © Jaime Rojo)

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Maya Hayuk. Houston Wall. Process shot. (photo © Jaime Rojo)

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Maya Hayuk. Houston Wall. Process shot. (photo © Jaime Rojo)

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Maya Hayuk. Houston Wall. (photo © Jaime Rojo)

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Maya Hayuk. Houston Wall. (photo © Jaime Rojo)

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QRST. Bus shelter ad takeover. (photo © Jaime Rojo)

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Issa and Jilly Ballistic collaboration in a MTA subway platform. (photo © Jaime Rojo)

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Ben Eine. “Thats Entertainment. ish” (photo © Jaime Rojo)

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Ben Eine. “Thats Entertainment. ish” (photo © Jaime Rojo)

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Ben Eine (photo © Jaime Rojo)

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BONE (photo © Jaime Rojo)

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Yes, it does seem rather harsh. Ellis G. THR (photo © Jaime Rojo)

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Justin in time for Valentine’s Day, this smashed bouquet of flowers. Serge Miquel. “Yummy” (photo © Jaime Rojo)

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Alice Pasquini at work on her piece in Barcelona, Spain for ÚS Festival. (photo © João Gordicho)

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Alice Pasquini in Barcelona, Spain for ÚS Festival. (photo © João Gordicho)

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Untitled. Manhattan, NYC. February, 2014. (photo © Jaime Rojo)

 

 

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Priest Comes to Brooklyn and Puts Ego on the Alter

Priest Comes to Brooklyn and Puts Ego on the Alter

Priests are really taking a beating in public opinion these days, and with good reason (see U.N. report this week). One New Orleans priest visiting Brooklyn this week hopes to change all those negative perceptions and replace them with new ones by taunting the church, law enforcement, the KKK, illegal immigrants, Street Art fans, and, well, anyone really.

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PRIEST (photo © Jaime Rojo)

Priest is the Po-Boy’s Banksy, a less talented stencillist perhaps by half, but equally smart and witty if he applies himself. You won’t need to buzz saw through a concrete wall to get a Priest piece – if you arrive early tonight he’ll give you one. For that money you won’t find a better blender of graffiti’s nihlism with street art’s self-indulgent sarcasm as he rifles through the visual tropes and winking in-jokes you have grown to know and tire of.

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PRIEST at work on his installation. (photo © Jaime Rojo)

Without reading into it too far, it appears that he’s also questioning the necessity for polarization between the vocabularies of graffiti and Street Art. For the new kids who didn’t absorb the context the styles were developed in and have no interest in it, the practices and visual vocab have all been dropped into a cultural food processor. Welcome to the ‘teens.

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PRIEST (photo © Jaime Rojo)

Originally from Mobile Alabama, “Priest landed in the only place a person with zero skills and a computer could: the superficial world of street art,” says his wife in the press release for the solo “ALTARed Ego,” opening tonight at Mecka Gallery in East Williamsburg. The approach could be the self-conscious disarming of critics by an out-of-town bomber but don’t let it cloud the reality of a certain underlying sophistication and pathos. When realized, the social critiques meet with a harsher edge and still retain the humor we need to swallow it: Witness the silhouette of ET in the front bicycle basket as a sombrero- and-poncho-wearing alien.

It’s just frank enough commentary to engage with and contemplate without droning on and on about immigration policy. Did we say droning? That’s a different painting.

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PRIEST “Graffiti has always been a grey area of the LAW” (photo © Jaime Rojo)

Taunting everyone from the NSA to Big Oil to consumerism, the police and the shallowness of art fans, Priest experiments with stencils, the paint brush, and losing control of his spray across the wall. With “ALTARed Ego,” Priest tells us to calm the f**k down about all the ginned up hype and consider the mess we’re actually in. It’s one of the new faces of activism that we are seeing more of these day, and just one tip of the iceberg.

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PRIEST. The stencil in the middle is of the Gray Ghost. The infamous graffiti buffer in New Orleans. (photo © Jaime Rojo)

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PRIEST (photo © Jaime Rojo)

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PRIEST at work on his installation. (photo © Jaime Rojo)

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PRIEST (photo © Jaime Rojo)

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PRIEST at work on his installation. (photo © Jaime Rojo)

 

 

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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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BSA Film Friday 02.07.14

BSA Film Friday 02.07.14

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

Now screening :

1. Swoon Lays It On the Line
2. “Vacant View” and Baltimore’s Slumlords
3. FAREWELL: In Memory of a Lost Friend
4. Galeria Urban Forms 2013

BSA Special Feature: Swoon Lays It On the Line

“A little bit less about art stuff and a little bit more about life stuff” is how Street Artist Swoon introduces the revelatory truths that underpin her work and her fundamental relationships with family. She brings light into her upbringing, her family’s addictions a how Swoon decided to tackle the challenges that life presented her and to find a way to courageously forgive and heal.

 

“Vacant View” Trailer

Vacant View is an inspirational documentary that shows the creative and innovative ways street artists, activists and community members utilize their available resources with the hopes to draw attention to the vacant housing epidemic in Baltimore.

Directed by:
Tarek Turkey and Julia Pitch

 

FAREWELL: In Memory of a Lost Friend. (SUBWAY-WORK-SLEEP)

What does it feel like to be behind bars?

Who says conceptual public art has to come with an artists’s statement? Here is the act planned by two, and finished by one.

“My partner and I tried to carry out this intervention three years before. The result was unsatisfying and we promised ourselves to try again. The year after, my friend left us brutally. I hope he will like the result.”

 

Galeria Urban Forms 2013

The Urban Forms festival in Lodz, Poland put together this nice compilation of walls completed this year, including the artists ROA (Belgium), INTI (Chile), 3TTMAN (France), and TONE, GREGOR, and PROEMBRION (all from Poland).

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Ben Eine Would Like To Have A Heartfelt Word With You

Ben Eine Would Like To Have A Heartfelt Word With You

Heartfelt words are a dime a dozen this time of year with Valentine’s Day coming up, which makes you want to drunk dial your ex girlfriend and see watcheezdoinritenow, but few people’s words are as crisp and wry and dang colorful as the sentiments that flow from Street Artist EINE, who is in New York to present “Heartfelt”.

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

Known for his trademark alphabet in a prismatically pleasant palette on pulldown gates around the planet, we stumbled across him posing for pics on the Bowery and thought we’d pop by the new show. The London based former graff writer, now painter and master-printer has a distinctively crisp and plump typography that is rippling with stripes and clever color pairing in this new body of work at Judith Charles Gallery – as well as the couple of pieces he left around town.

From New York to you Ben, a heartfelt welcome.

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Ben Eine gives us all that cheerful backwards peace sign thing those Brits are always doing. Think it means “I Love You”. At Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

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Ben Eine “Heartfelt” exhibition at Judith Charles Gallery, NYC. (photo © Jaime Rojo)

Ben Eine “Hearfelt” is now open to the public at the Judith Charles Gallery in Manhattan. Click HERE for further details.

 

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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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The Power of Color via Street Art, Graffiti, and Murals

The Power of Color via Street Art, Graffiti, and Murals

No doubt it is the grey days of late winter that is making us think about this as we brace for the next snowstorm, but today we’re considering the impact that Street Art color has on architecture that never asked for it.

We’re not the first to think of hues, shades, tones, and palettes when it comes to the man made environment of course, but it does strike us that most of the buildings that are hit up by street art and murals today were designed by architects who never imagined art on their facade.

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Os Gemeos in Boston. (photo © Jaime Rojo)

Modern architecture for some reason is still primarily grey, washed out greens, beige, eggshell, snore.

“Color is something that architects are usually afraid of,” said internationally known and awarded architect Benedetta Tagliabue in an interview last May about the topic of color.  A generalization probably, and you can always find exceptions of colorfully painted neighborhoods globally like the Haight in San Francisco, La Boca in Buenos Aires, Portafino in Italy, Guanajuato in Mexico, Bo-Kaap in Capetown, the favelas of Rio de Janeiro and the Blue City of India, but many of those examples speak to color blocking and pattern.

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Interesni Kazki in Baltimore. (photo © Jaime Rojo)

We’ve been looking at the power of Street Art to reface, re-contextualize, re-energize, and re-imagine a building and its place in the neighborhood. Some times it is successful, other times it may produce a light vertigo. The impact of work on buildings by today’s Street Artists and muralists depends not only on content and composition but largely on the palette they have chosen. It sounds trite, and self-evident perhaps, but much of Street Art is about color, and primarily on the warm scale first described by Faber Birren with his OSHA colors and color circle in the 1930s .

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Faile in Manhattan, NYC. (photo © Jaime Rojo)

Birren developed his color system with the observation that artists favor the warm colors more than the cold, from the violet side of red and extending beyond yellow because “, their effect is more dynamic and intense and because the eye can, in fact, distinguish more warm colors than cold.

It’s common now to think of 21st century Street Art as the graffiti-influenced practice that primarily activates the detritus of the abandoned industrial sector blighting western cities in the wake of trade agreements that sent all the jobs to lands without protections and regulations. While that is definitely the sort of neglected factory architecture preferred for “activation” by many graffiti artists and Street Artists alike, we also see more curious couplings of color with the delicately ornate, the regal, or even modernist structures today thanks to artists being invited, rather than chased.

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Shepard Fairey in Manhattan, NYC. (photo © Jaime Rojo)

The results? Abstractionist, cubist, geometric, letter-based, illustrative, figurative, text-based, outsider, folk, dadaist, pop.  One common denominator: color.

“The environment and its colors are perceived, and the brain processes and judges what it perceives on an objective and subjective basis. Psychological influence, communication, information, and effects on the psyche are aspects of our perceptual judgment processes,” writes Frank H. Mahnke in his recent piece for Archinect. The author of Color, Environment, & Human Response has made it his mission to explore psychological, biological effects of color and light and to help creators of the man-made environment make good choices.

Whether all of these choices are good, we leave up to you. But it is worth considering that Street Artists have been part of the conversation on the street for decades now, making powerful suggestions to architects and city planners , so maybe it’s worth taking another look at what they’ve been up to lately.

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Ever in Baltimore. (photo © Jaime Rojo)

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Escif in Atlanta. (photo © Jaime Rojo)

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Kenton Parker and Roa in Miami. (photo © Jaime Rojo)

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LUDO in Chicago. (photo © Jaime Rojo)

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Anthony Lister in Los Angeles. (photo © Jaime Rojo)

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Kobra in Manhattan, NYC. (photo © Jaime Rojo)

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Smells, Cash4 and Spiro in Brooklyn, NYC. (photo © Jaime Rojo)

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Don Rimx in El Barrio. Harlem, NYC. (photo © Jaime Rojo)

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Agostino Iacurci in Atlanta. (photo © Jaime Rojo)

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Barry McGee in Brooklyn, NYC. (photo © Jaime Rojo)

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Jaz and Cern in Brooklyn, NYC. (photo © Jaime Rojo)

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Pose and Revok in Manhattan, NYC. (photo © Jaime Rojo)

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Rime, Dceve and Toper in Manhattan, NYC. (photo © Jaime Rojo)

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Pixel Pancho in Miami. (photo © Jaime Rojo)

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Deeker and David Pappaceno in Brooklyn, NYC. (photo © Jaime Rojo)

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Reka in Brooklyn, NYC. (photo © Jaime Rojo)

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RRobots in Brooklyn, NYC. (photo © Jaime Rojo)

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MOMO in Brooklyn, NYC. (photo © Jaime Rojo)

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Skewville in Brooklyn, NYC with an old NEKST tag on top. (photo © Jaime Rojo)

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3ttman and Elias in Atlanta. (photo © Jaime Rojo)

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Chris Stain and Billy Mode tribute to Martha Cooper in Brooklyn with ROA on the water tank. (photo © Jaime Rojo)

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Rubin in Brooklyn, NYC. (photo © Jaime Rojo)

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Os Gemeos in Manhattan, NYC. (photo © Jaime Rojo)

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JMR in Brooklyn, NYC. (photo © Jaime Rojo)

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Greg LaMarche in Brooklyn, NYC. (photo © Jaime Rojo)

 

 

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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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This article was also published on The Huffington Post

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“The City As Canvas” Opens with the Collection of Martin Wong

“The City As Canvas” Opens with the Collection of Martin Wong

Last night the graffiti and early Street Art history from New York’s 1970s and 80s was celebrated by the City of New York – at least in its museum. Criminals and outlaws then, art stars and legends today, many of the aerosol actors and their documentarians were on display and discussed over white wine under warm, forgiving, indirect lighting.

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DAZE in the background sliced by a wall of cans at the opening of “The City As Canvas” (photo via iPhone © Jaime Rojo)

“City as Canvas: New York City Graffiti From the Martin Wong Collection” is an exhibition as well as a book released last fall written by Carlo McCormick and Sean Corcoran, with contributions by Lee Quinones, Sacha Jenkins and Christopher Daze Ellis, and all the aforementioned were in attendance. Also spotted were artists, photographers, curators, writers (both kinds), art dealers, historians, family, friends, peers and loyal fans – naturally most fell into a few of these categories at the same time.

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“The City As Canvas” exhibition at Museum of the City of New York welcome text with pieces by Futura 2000 and Zephyr to the right. (photo via iPhone © Steven P. Harrington)

“City as Canvas” is possible thanks to the foresight, eye, and wallet of collector Martin Wong, an openly gay Chinese-American artist transplanted to New York from San Francisco, which is remarkable not only because of the rampant homophobia and near hysterical AIDS phobia at the time he was collecting but because the graffiti / Street Art scene even today throws the term “fag” around pretty easily. A trained ceramacist and painter whose professional work has gained in recognition since his death of AIDS related complications in 1999, Wong is said to have met and befriended a great number of New York graffiti artists like Lady Pink, LEE, DAZE and Futura 2000, who were picking up art supplies where he worked at the Pearl Paint store – a four story holy place on Canal Street that thrived at that time.

 Brooklyn-Street-Art-Sharp-Paints-a-Picture-copyright-Martin_WongThe show contains black books full of tags and drawings as well as canvasses and mixed media Wong purchased, commissioned, and painted, including a portrait of graffiti artist Sharp wearing a respirator and standing before a canvas he’s working on entitled Sharp Paints a Picture (1997-98).

The mood at the museum was celebratory as guests looked at the 140+ works from Wong’s collection; a cross between an art opening and a graffiti trade show, with enthusiastic peers and fans waiting patiently to speak with, pose for pictures with, and gain autographs or tags in their black books from artists in attendance. The only officers that could be seen were holding back the line of guests to make sure there was no overcrowding of the exhibit.

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The famous Martha Cooper photograph of Dondi in action in the train yards. “The City As Canvas” exhibition at Museum of the City of New York. (photo via iPhone © Jaime Rojo)

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A Keith Haring and LA2 collaboration at “The City As Canvas” exhibition at Museum of the City of New York. (photo via iPhone © Steven P. Harrington)

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Artist LA2 with Ramona “The City As Canvas” (photo via iPhone © Jaime Rojo)

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Keith Haring (Smiling Face) from 1982 at “The City As Canvas” exhibition at Museum of the City of New York. (photo via iPhone © Steven P. Harrington)

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Lee Quiñones speaking with a never ending stream of fans before his canvas Howard the Duck, 1988, at “The City As Canvas” (photo via iPhone © Jaime Rojo)

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Digital prints of images shot by photographer Henry Chalfant brought the trains alive. On top is an image of a train with Sharp/Delta 2 from 1981 and below is “Stop the Bomb” by LEE (Quiñones), 1979 at “The City As Canvas” exhibition at Museum of the City of New York. (photo via iPhone © Steven P. Harrington)

 

 

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Faring Purth Repairs “Etty” In Rochester for Wall Therapy

Faring Purth Repairs “Etty” In Rochester for Wall Therapy

Street Artist Faring Purth is in many places and none of them as she likes to travel and paint and couch surf a bit – whether its Boston and Rochester or places further away like Uraguay, Argentina and California. Her slim and tapered figures and longly distorted portraits have character and sometimes symbolism, but usually they reflect her personal relationships and imagination.

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Faring Purth. “Etty” Detail. Wall Therapy, Rochester, NY. December 2013 (photo © Mark Deff)

In contrast with the hyper sensual or sexualized depictions of the female perhaps more common in graffiti or street art, Purth wraps and unwraps the layering and complexities of character in the humans she depicts. She takes her time to create, sometimes painting over days or even weeks in a public space, where the work usually remains untouched by more than the sun, wind, rain, snow.

In the case of Etty, her piece completed in December in Rochester, New York for Wall Therapy, it was damaged almost immediately, and the act caught her by surprise, but maybe it shouldn’t have.

Etty created some waves. As you know, a lot of my work involves blatant female nudity. With the tension Roa’s Sleeping Bears and Faith 47’s piece caused last year, they asked me to refrain from having her completely nude. So, I tried,” she says of the long figure lying (or floating) parallel to the sidewalk in an underpass. In fact the figure is not nude, at least not in any conventional sense, but it bothered someone enough for them to spray religious references in aerosol across the artwork. The birds are unclothed, maybe that was what upset them.

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Faring Purth. “Etty” Detail. Wall Therapy, Rochester, NY. December 2013 (photo © Mark Deff)

It is not often that you hear of Street Art festivals having problems with the reaction of people to bringing talented globally recognized artists in to adorn walls – in fact developers, city agencies, and arts organizations from Montreal to Lima to Baltimore to Łódź to Paris are now routinely dreaming up similar festival schemes to reinvigorate the cityscape and enliven public spaces.

Rochester for some reason isn’t having it, and this incident is just one more to add to those publicized in the press and privately related among some participants that certain locals aren’t always going to open their arms to you, regardless of your abilities or intentions.

 

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Faring Purth. “Etty” Detail. Wall Therapy, Rochester, NY. December 2013 (photo © Mark Deff)

Etty was created for Wall Therapy, but unlike most of the other artists involved I took my time with her while going back and forth to Boston and South America,” Purth says of the lengthy period for her installation of Etty which spanned some months. “I received equally supportive and hostile attention from the public while I was painting her. It was a new experience in more ways than I can count,” she says of the mural that measures 12 feet high by 125 feet long, her biggest yet.

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Faring Purth. “Etty” Detail. Wall Therapy, Rochester, NY. December 2013 (photo © Mark Deff)

Finishing it in early December, she left her temporary home base in Rochester and travelled south to Buenos Aires to do some more painting with Street Artist EVER and to enjoy the warmer weather. But what awaited her when she got back was a surprise. “When I finally returned to Rochester, Etty had been defaced with the word “JESUS” and a red crucifix over her hand- a hand that was, in fact, feeding a bird,” she relates about the discovery, which left her cold.

“It was a profoundly difficult experience for me; That after giving so much to a single piece of work, she could, with one cheap can of Rustoleum, be so grossly wounded.”

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Faring Purth. “Etty” Wall Therapy, Rochester, NY. December 2013 (photo © Lisa Baker)

These are the “rules” of the street of course, and anyone working in the public sphere doing approved or unapproved work fully knows that their labors are up for crossing out, additional commentary, or outright destruction.  So no tears were shed.

Intrepidly, Faring says she made her piece whole again. “I fixed her. Or rather, changed her, before hitting the road. She’s different now,” Faring describes the repairing she did like a surgeon. “(With) stitches and all, here she is.”

So have a look at the progress shots of Etty, the before and the after repair work. As she keeps moving and painting – just now she was in Kentucky – Faring Purth is still thinking about her experiences in the cold north. “It taught me a great deal,” she says.  No word on how Etty looks now, a month later.

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Faring Purth. “Etty” Detail of her defaced face. Wall Therapy, Rochester, NY. January, 2014 (photo © Faring Purth)

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Faring Purth. “Etty” Restored. Wall Therapy, Rochester, NY. January, 2014 (photo © Faring Purth)

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Faring Purth. “Etty” Detail of her defaced hand. Wall Therapy, Rochester, NY. January, 2014 (photo © Faring Purth)

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Faring Purth. “Etty” Restored. Wall Therapy, Rochester, NY. January, 2014 (photo © Faring Purth)

 

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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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Images Of The Week: 02.02.14

Images Of The Week: 02.02.14

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Welcome to New York! Apparently there is some sort of sporting event happening today here. Or is in New Jersey? So hard to tell. Something to do with tobogganing or something. Winter Olympics maybe?

Here’s our weekly interview with the street, this week featuring Chor Boogie, Chromo, Dain, Deived, El Sol 25, Jesse James, Katsu, Luut, Mr. Toll, Reve, Sen2, The Orion, UNO.

Top Image >> El Sol 25 (photo © Jaime Rojo)

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A special message made of corporate logos from fine eating establishments on a new sticker that has been spotted around town. Can you identify them all? Artist Unknown with a Chromo tag. (photo © Jaime Rojo)

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Division of painting labor helpfully illustrated by Luut and Sen2 (photo © Jaime Rojo)

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Deived. Tijuana, Mexico. January 2014 (photo © Deived)

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Katsu (photo © Jaime Rojo)

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UNO walking a pig in Bologna, Italy. 2014 (photo © UNO)

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UNO. Bologna, Italy. January 2014 (photo © UNO)

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Dain (photo © Jaime Rojo)

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Chor Boogie. Detail of his Michael Jackson tribute in progress in Times Square. (photo © Jaime Rojo)

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Chor Boogie getting ready to paint Madonna next to Michael Jackson. Yes, he does look like Hellboy for some reason. (photo © Steven P. Harrington)

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The Orion in Romania pays tribute to Soviet Union era cosmonaut Yuri Gagarin (photo © The Orion)

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REVE in Italy (photo © REVE)

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Mr. Toll (photo © Jaime Rojo)

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Mr. Toll spilling his BK control advice. (photo © Jaime Rojo)

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Jesse James in Miami. (photo © Jesse James)

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Untitled. Times Square, NYC. January 2014 (photo © Jaime Rojo)

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#CheckYourSelfie, A New Online Project from Gilf!

#CheckYourSelfie, A New Online Project from Gilf!

Using Social and a Self-Pic to Start a Conversation with You

Street Artist Gilf! has been developing her work the last few months in a more conceptual direction and diversifying from straight paint on a wall. Her new online project incorporates photography, activism, online conversation, and the pinnacle of personal image promotion right now, the selfie.

And she’s hoping you’ll send her yours right now. It’s Saturday, what else is going on, laundry?

Also, you could change the world.

For Gilf! the heralded phone self portrait is more than just a way to show off your beauty mark or your biceps, it can be a way to open a conversation about a topic you care about. “This is an opportunity for people to connect with friends to discuss and brainstorm a cause or an important issue,” she says of the new art project she calls #Checkyourselfie.

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Gilf! submits her own #checkyourselfie (© Gilf!)

As if you weren’t already fixing your hair and getting ready to snap, she’s sweetening the deal by offering to give you one of her prints from her 5-selfie series that she’s releasing each day next week starting Monday.  “The winner will be decided on my perception of the image’s ability to facilitate dialog, its composition, and of course the level of creativity that went into it,” she says, and already she’s gotten a few that are stretching the selfie concept into personally artful directions.

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See a full discussion sparked by this image from xoaoart, “Okay, so I’m usually not one to do this but I love me some @gilfnyc and I’m always up for thought provoking discussion #checkyourselfie” (http://web.stagram.com/n/xoaoart/ )

Be extreme if you want to be, suggests Gilf!, and tell everybody what you care about, and this Street Artist who has always loved social, political, and environmental activism says she’ll promote you even more. “You’ll be surprised at how many people feel the same way you do, and how good it feels to get your opinion about something important out among like-minded people,” she says.

Check the end of this post for details on how to #Checkyourselfie, but first here’s Gilf! speaks with us about her project.

Brooklyn Street Art: Judy Pearshall from the Oxford Dictionary observed that the act of taking a selfie is an “essentially narcissistic enterprise.” Do you suppose the desire to share an image of your physical appearance is something more than that?

Gilf!: Absolutely. To share a selfie is a brave yet strategic move. Ultimately we don’t share things on social media if we are not seeking others’ opinions or approval. Often times I see selfies as requests for validation. As a society we are so inundated with the media telling us how we need to be thinner, hotter, and more stylish, so of course we’re all a bit insecure.

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A submission to #Checkyourselfie from @Halopigg on Instagram. “I wanted to challenge myself with this photo, which is why this photo and caption were made entirely by me using my feet and toes,” he says (image © Halopigg)

Every time we get a “like” on our photos we are rewarded with a jolt of dopamine. This can make us feel better about ourselves, but it’s short lived like any other drug. It doesn’t contribute to true self worth- but actually, in my opinion, creates further need for validation from our peers. I think the need for acceptance has become highly integrated in self esteem since the advent of social media. Maybe this isn’t new but it’s far more visible and intense than ever before.

Brooklyn Street Art: Television and advertising are often accused of defining beauty standards. Would you say that the “selfie” phenomenon is redefining those standards or otherwise altering them?

Gilf!: I see the selfie as an amazing tool that can redefine our understanding of beauty. The majority of the selfies I see are reinforcing the media’s beauty standards, but it doesn’t have to stay that way. I think it’s rare to see a selfie that blatantly shows and accepts a person’s flaws. We need more of these. It’s an incredible way to use the selfie as a source of empowerment. We can choose to hold ourselves up to the unrealistic, photoshopped version of beauty or accept and own our perceived flaws as part of what makes each of us unique and beautiful.

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“So #checkyourselfie is about using a selfie to create constructive dialog about things other than the self,” says Gilf!, “I don’t know how constructive this one is as an example- but it sure made me laugh!” (unattributed photo from Gilf!’s Tumblr on Jan 31)

Brooklyn Street Art: With more than 30 million Instagram photos carrying the hashtag #selfie, have we all become stars?

Gilf!: I think it’s gotten a little out of hand. It’s one thing to love ourselves, it’s another when we use social media to feed our egos. One of the questions I keep asking myself while working on #checkyourselfie is why do we have such a fascination with the self. Ultimately we can each only control our own self.

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A #checkyourselfie from freelance photographer and writer Nancy Musinguzi (© Nancy Musinguzi)

The world and all it’s problems can seem so daunting on an individual level. “What can one person really do?” is a question I often hear. It’s so scary to feel helpless and ineffective. We turn our focus inward, because the self is the one thing we can control. While heavily “connected” with social media, by focusing on the self we can become disempowered, isolated individuals. It has such potential to connect us and create dialog yet social media has largely become a tool to stoke our egos.

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Use your camera to create frehley: Street Artist Oh Captain My Captain (OCMC) submitted this image for #checkyourselfie (© OCMCPropaganda)

Brooklyn Street Art: You are using this project as a way to open a conversation – what do you hope we will all talk about?

Gilf!: Social media presents an incredible opportunity to create community and effect change, and I don’t think we’re harnessing its full potential yet. I want to use the selfie to create dialogs about greater issues. I’ll be using the project to discuss issues that I’m interested in like the environment, body image, and how we understand community. What I’m hoping participants will discuss are issues that are important to them. This can be a way to create new connections, bring people together, or motivate a group to actually organize or volunteer together, instead of just saying “someday”.

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Street Artist Cernesto’s selfie on Instagram for #checkyourselfie (photo © @Cernesto)

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How you can participate in #checkyourselfie right now:

To start a conversation, simply tag your image with #checkyourselfie. Your image will appear on Gilf!’s Instagramtumblr, and twitter under her handle @gilfnyc, on Facebook at www.facebook.com/gilfnyc, and her website website: www.gilfnyc.com.  See her website for more details.

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To see Gilf’s five new images in print you’ll need to go to DUMBO, Brooklyn next Thursday night at Arcilesi Homberg Fine Art . Since the artist is planning to be in attendance you can continue your conversation in person.

 

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BSA Film Friday: 01.31.14

BSA Film Friday: 01.31.14

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

Now screening :

1. Plotbot KEN on Acid Tanks
2. Story Of Abstract Ritual From Jeff Frost
3. Boohaha & Don Forty: Μαινάδες-Maenads in Athens, Greece.
4. Pixel Pancho in Santurce

BSA Special Feature: PLOTBOT Ken hits Acid Tanks

In this film by Isabelle Petit we can revel in the physical and material qualities of paint, dripping, smearing, speckled and strewn. With your air mask on you can  accompany these urban explorers as they venture into the carcass of industry that lays barren and toxic, corrosive and threatening to life. It’s a drums and bass soundtrack that accompanies the bubbling, spraying, steaming pastiche and the Berlin based Plotblot Ken gives an ominous darkness with his own industry in the detritus of that city, but really it could be anywhere in the abandoned industrial areas that litter our globe.

 

Story Of Abstract Ritual From Jeff Frost

“Hi I’m Jeff, an artist based out of Southern California. This is the story about how I became a nomad and embarked on an endless adventure,” begins photographer and director Jeff Frost as he describes his very visually stimulating and magical dance of inverted Joshua trees with light, motion, and sound — and many volunteers.

 

Boohaha & Don Forty: Μαινάδες-Maenads. Athens, Greece.

Oh no! It’s more foreboding music and broken glass as the camera hovers and slowly inches across the floor! Fallen leaves, dry leaves, desiccated branches with leaves, fluttering leaves. Then forms in darkness rapidly move in the shadows, maybe sawing something, maybe jumping on or stabling something. Don’t be afraid, it’s just a temporary sculpture installation in an abandoned space in Greece… with an excellent soundtrack.

 

Pixel Pancho in Santurce, Puerto Rico.

And to round out the collection with one more haunted and futuristic soundtrack, Pixel Pancho and Tost Films treat you to a stop action vision of how he creates one of his insectual future disaster scenes while the crazy cloud atmospherics of nature and post-production blurring are punctuated by the truculent punching of drumsticks and the sidewinding slathering of rusty razoring guitars.

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