Chris Dyer and Positive Vibes in Peru

Chris Dyer and Positive Vibes in Peru

“Visionary” graffiti artist and entrepreneur, Montreal based artist Chris Dyer has crafted a style that synthesizes influences from astrology, spirituality, graffiti, Street Art, skater culture, and folk art into a modern representational style you may associate with glowing barefoot and shirtless celebrants at Burning Man or similar transformational / experiential festivals around the globe.  But his work was not always strictly on the positive tip.

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Chris Dyer. Lima, Peru. December 2013. (photo © Chris Dyer)

“I grew up in Lima, Peru till the age of 17, before I left for Montreal. It was there where I first used spray paint, as a tagger for my street gang ‘SepUlcro’,” says Chris to give a sense of his personal roots and evolution. Today he travels quite a bit and speaks about his philosophy and his art, encouraging others to express their inner world through creativity in a positive way. Along the way he has created a space in the commercial world with skateboard graphics for many brands and he markets prints, pins, hemp clothing, tapestries with his own company based in San Francisco.

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Chris Dyer collaboration with Entes y Pesimo. Lima, Peru. December 2013. (photo © Chris Dyer)

Here are some recent walls he did in Lima during a trip, his first there in eight years, where he hung out and created collaboratively with local graffiti / Street Artists Entes, Pesimo and Jade. With the wisdom of a guy in his thirties, Chris revisited the land where he grew up doing a more transgressive form of work in the streets, and found a way to make it personally transformative. “This trip really healed a bunch of wounds I developed as a half-gringo in a aggressive latino city, and left me loving the country of my roots,” he says.

While prepping for a solo show at a gallery in Miraflores in December, he also did some travelling and “dropped some pieces here and there,” he says. Now back in the wintry north he is already looking forward to return to the land that formed his youth soon. “I’m pumped to return next year for “Latir Latino” festival and to drop a bigger mural for Lima to enjoy.”

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Chris Dyer. Lima, Peru. December 2013. (photo © Chris Dyer)

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Chris Dyer collaboration with Jade in Peru, 2014. (photo © Chris Dyer)

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Chris Dyer. Peru, December 2013. (photo © Chris Dyer)

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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!<<>>><><<>BSA<<>>><<<>><><BSA<<>>><><<>BSA<<>>><<<>><><BSA
 
 
 
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Thank You Pete Seeger, Stay Forever Young

Thank You Pete Seeger, Stay Forever Young

Peter “Pete” Seeger (May 3, 1919 – January 27, 2014)

In the midst of all the warm tributes coming from news outlets since Mr. Pete Seeger passed away two days ago, you may have missed the stridency and conviction that he infused his art with and the courageous, sometimes unpopular stances he took with his art to expand the rights of people of every stripe during his long life.

Maybe the cuddly coverage was missing the bite of his badass attitude toward injustice because some of those same institutions had been culpable at one time of the very things he took us all to task for – racism, classism, sexism, creeping fascism, intolerance, economic injustice, ravaging the earth, waging unjustified war. It doesn’t typically fit the narrative of a fuzzy posthumous tribute to a man of 94, but Folk Music speaks frankly on the side of the folk, and he asked famously, “Which side are you on?” Though he was lover, Seeger also was also definitely a fighter.

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One beautiful August afternoon with Mr. Seeger and friends under a canopy of Beacon trees. (photo © Steven P. Harrington)

Mr. Seeger was punk rock before guitars were even electrified, and he used his talents to make a difference, even when things looked dark, or were threatening.  He jumped freights as a young man and rode from town to town with his banjo and guys like Woody Guthrie because he loved his folk music, he loved the country, and because he believed strongly in social justice and wanted to tell the stories of everyday working neighbors so they could find their voice and use it.

 

He was not a pushover, didn’t rest easily on his laurels, although no one would have thought less of him if he had. He certainly wasn’t looking for doe-eyed reverence from a compliant establishment – In his 80s and 90s he was protesting the Iraq and Afganistan Wars, marching with Occupy Wall Street, fighting successfully to get the Hudson River dredged of toxic chemicals dumped there from industry.

 

It was the fight inside of him, a hope inside of him, his wife of 70 years beside him, and the family of people around him that kept him going. He relished hearing your voice as much as his own and even though his voice couldn’t actually hold a note and he mainly spoke his lyrics in the last few years, he found a way to rally people and to encourage us and engage us in a way that will keep him in our minds and hearts forever young.

“Participation! It’s what all my work has been about.” – Pete Seeger

 

10 Great Songs from Pete Seeger via Martin Chilton at The Telegraph

 

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A ‘New Ukraine’ Sculpture in Independence Square by Roti

A ‘New Ukraine’ Sculpture in Independence Square by Roti

French Street Artist Trucks 4 Ton Marble Sculpture with Kiev Crowd Watching

The Prime Minister and his cabinet have quit and the freezing crowds are still demanding the resignation of President Viktor Yanukovych. Here in sub-zero Independence Square amidst the Molotov cocktails and burning tires appears a “New Ukraine,” thanks to the just carved sculpture of the same name. Street Artist Roti channeled his rebellious graffiti ethos into this project featuring the image of a Ukrainian woman emerging from the depths. He hopes to inspire the demonstrators who have been mobilized for two months plus.

Inflamed since their presidents’ sudden withdrawal from a trade agreement with the European Union (EU) in November, most say the real oxygen that is feeding this populist fire is disgust with a political class that became corrupt. With this unsanctioned gift of public art Roti examines and tests the ambiguous nature of illegality that also possesses beauty, claiming public space for a rippling people’s movement that now looks like a revolution.

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“New Ukraine” by Roti (photo © Chris Cunningham)

 
Writer, scholar, and occasional BSA contributor, Alexandra Parrish was perfectly placed in Kiev this winter to see the uprisings swell and to witness the carving out of this now historical public sculpture by Roti, as well as its placement. We are pleased that she shares with us today an essay that provides context and background for Roti’s gift to The Euromaiden (Євромайдан, #EuroMaiden #EuroMaidan) and to the related events.

Roti’s “New Ukraine”
by Alexandra Parrish

“Throughout history, art has served as a representation of religious, cultural, political and social movements,” remarks Roti, the 25-year-old artist cum laude. Today, while many artists seemingly work for the market alone, others continue to negotiate the relationship of art to society. French artist Roti is certainly moving towards his own interpretation of such, particularly after the installation of his 2-metre sculpture titled “New Ukraine” in the centre of Kyiv to express his solidarity with the current revolution underway.

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Roti at work in his studio. (photo © Chris Cunningham)

By trade, Roti is a stonecutter specialized in sculpture; in a separate pursuit, he’s negotiated illegality in public space via graffiti for the past decade. An artist in all regard, Roti’s surreal work depicts the spiritual realm, the intangible realities that exist in the mind. He’s found much success with his style, which has allowed him to travel with his work to New York, Atlanta, Paris and London.

However, it was his trip to Ukraine for the Gogol fest back in September of 2013 that sparked an intense appreciation and curiosity about the spirit of the art scene underway, predominately in the capital city of Kyiv. He spent a month deep within the community of artists who have “built beauty out of nothing;” in this experience, he learned how the individual could be a part of a collective. He promised to return, one day.

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Roti at work in his studio. (screen shot from a yet to be released film © Chris Cunningham)

In late November of 2013, rumblings of a new revolution in Ukraine began. Acts of peaceful civil resistance and demonstrations activated Independence Square, the centre of Kyiv. These demonstrations were a direct response to president Yanukovych’s decision to retrench from trade agreements with the European Union in favor of a renewed arrangement with Russia.

The movement, affectionately referred to as “Euromaidan,” has been generally characterized in Western media as an aspiration for EU-integration. However, Ukrainians continue to endure freezing temperatures and police intimidation for a more humanist cause – they are through with Yanukovych’s corrupt government and they demand a better quality of life (the average Ukrainian earns about $300 per month).

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Roti at work in his studio. (screen shot from a yet to be released film © Chris Cunningham)

Roti, after observing the resistance through media outlets and Facebook feeds, felt a strong urge to return. Initially, he felt compelled to just be there. After much consideration, he realized he needed to do something. For months, he’d worked on the concept of a sculpture he assumed would install one day in Paris. Yet the movement happening in Ukraine assigned a new meaning to his initial idea – a woman, emerging from water – an allegory for the current revolution.

Two days after his initial proposal to several friends involved with Euromaidan, he booked a ticket to Kyiv. Two days after that, he miraculously managed to find a rose-marble stone and a workshop. The entire process fell into place so smoothly that his efficiency followed – generally, he would work 14-16 hours a day carving and polishing the stone. By the 13th day, the stone was complete.

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Roti at work in his studio. (screen shot from a yet to be released film © Chris Cunningham)

In the end, he saw life in the sculpture. The ripples had energy and movement. The face of the woman, while modeled after a friend and talented performer of the Dakh Daughters, represented the strength and perseverance of the Ukrainian population. Roti himself felt as if he’d emerged from a descent into the murky waters of insecurity. The sculpture, which he titled “New Ukraine,” became alive in symbolism, hope and energy – everything he felt during his experience and understanding of Euromaidan.

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Roti (photo © Alexej Zaika)

The installation took place on the day of Orthodox Christmas, January 7, 2014. At around 6:00 p.m., the procession into Euromaidan began with the Dakh Daughters, who performed traditional Ukrainian folk songs about patriotism and freedom; a truck carrying the 4-tonnes sculpture trailed their spirited performance. “Around 200 people followed us into the centre,” Roti observed.

Everyone was curious, even confused, as no announcements had been officially made. This was, after all, an illegal installation. No authorization was given. However, it didn’t take long for those perplexed observers to understand why this was happening. “New Ukraine” was more than a gift; it was a proclamation of hope. After the sculpture was successfully hoisted from the truck to the ground, people sang and danced into the night in celebration.

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Roti (photo © Alexej Zaika)

Two months into Euromaidan, the celebration of Christmas and the “New Ukraine” sculpture were hardly indicators of an end to the protests, although demonstrations began to decrease in number. On January 16, Yanukovych forcefully passed legislation that would colossally curtail a number of free speech rights, notably the right to assemble and protest. This move sparked civil unrest that ultimately culminated into a violent stand off between protestors and police.

The first deaths of the revolution were reported in the week that followed. Protests spread to nine other cities across Ukraine, marking a fundamental shift in the Ukrainian revolution. While Yanokovych has agreed to make concessions towards peace, talks have yielded no success. The situation may seem dire to some, but there is some hope out of all of it. Increasingly more government buildings are now occupied and riot police and government troops are vastly outnumbered.

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Roti (photo © Alexej Zaika)

Since the rise in tension, greater media attention has been given to the movement and supporters across the world have asked their leaders to enact concessions on the Ukrainian government. During the World Economic Forum in Switzerland Friday, January 24th, 50 Ukrainian sympathizers stood outside with signs that read “thank you for your concern, now do something.”

In a way, this sentiment can be addressed to many of us. Social movements and revolutions require more than assembly, they also command a shift in ideology and action. Roti’s “New Ukraine” sculpture in Kyiv is almost an unconscious rallying call to continue the independent and free ethos of graffiti with new disciplines.

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Roti (photo © Alexej Zaika)

“If I use art illegally, in the graffiti spirit, by giving all this energy inside the stone,” Roti explains, “it can leave an eternal trace of this movement.” Likely, this stone will remain for hundreds of years as a continuous reminder of the Ukrainian revolution.

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Roti (photo © Chris Cunningham)

This article also appears on The Huffington Post 

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Our special thanks to Alex Parrish for sharing her essay with BSA readers.
 
 
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The Golden Age of Street Art in Barcelona – now on FB

The Golden Age of Street Art in Barcelona – now on FB

Every Street Art scene has what it calls its “Golden Age” – that time when artists are just popping up new pieces every week and you can sense a real evolution in style and substance is happening before your eyes. For Barcelona many will tell you that they had a golden age during the first four years of the century when it felt like walls all over some areas of the city became a vibrant unbridled gallery and the Spanish city became a tourist destination for artists and fans alike. While there is still a scene there now, much of the areas have been developed for commercial and shopping escapades for visitors rather than urban exploration.

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Btoy (photo © BCNWalls Project)

“BCN Walls Project” is the brainchild of Daniel Narváez, who recently contacted us to tell us about his project of posting images from 2000 to 2007 during his golden age of graffiti in Barcelona.  We took a look at the Facebook page and were pleased to see some images of artwork that recall our own beginnings recording the turn of the century Street Art explosion that began in Brooklyn and New York at large at that time. No telling how his page will develop, but its worth a look to see what else Narváez will be pulling out of his archives.

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Miss Van (photo © BCNWalls Project)

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Miss Van (photo © BCNWalls Project)

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Faile (photo © BCNWalls Project)

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Unknown (photo © BCNWalls Project)

For more images of Street Art In Barcelona from 2000 to 2007 click on the link below:

https://www.facebook.com/pages/Bcnwallsproject/511032425656978

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Image X 100 : New Echoing Portrait Sculptures in Paris by Gwelm

Image X 100 : New Echoing Portrait Sculptures in Paris by Gwelm

Street Artist Multiplies Obama, Depardieu, and Rhiannon

New urban interventions from Gwelm in Paris speak to the power of a portrait in the image drenched twenty-teens, and surprisingly, the conceptual sculptures know how to break through to the most catatonic among us.

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Gwelm. Rihanna. Paris, France. January 2014. (photo © Gwelm)

Entitled “Portraits 2.1” the collection of echoing images are placed in the public sphere for passersby to encounter and possibly be perplexed by. Gwelm says the new pieces begin with “the realization of the power of the image in the news and the collective unconscious, as propagated manifold by the Internet and social networks.”

Certainly the impact of some of these images is unchallenged, with the naked hungry child and dogs sniffing at the cadaver of a former Libyan president Muammar Kadhafi being perhaps the strongest. Others require more discernment or interpretation. Each choice is magnified by its repetition – a sort of electronic visual error that you associate with the screen and digital world, not this physical one.  The series multiplication and superimposing of tens or even hundreds of the same image brings them to alternate life, subverting their meanings and warping them in the minds eye.

 

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Gwelm appropriates Shepard Fairey into this portrait of Obama. Paris, France. January 2014. (photo © Gwelm)

Are they mocking indictments of human avarice, celebrity, hypocrisy? Commentaries on social conditions, advocacy of ideology, or just a clever reuse of imagery intended to prick your anterior lobe? Like a sophisticated artist and showman, Gwelm doesn’t always give you the easy answer, allowing you to decide.  Describing his method of selection, Gwelm says, “Faced with the multitude of ‘ready-to-think’ images, the synergy of images diverts the mind and gives rise to questions about what we are supposed to see.”

Our digital life is full of disjointed imagery, but it is unusual when it takes this form in public space. We’ll give Gwelm points for pushing us into an uncomfortable place that implicates our involvement with these intelligent visual provocations. It’s not easy to do that these days.

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Gwelm. Depardieu. Paris, France. January 2014. (photo © Gwelm)

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Gwelm. Famine. Paris, France. January 2014. (photo © Gwelm)

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Passersby must be startled to see dogs sniffing at the body of Muammar Kadhafi in this temporary sculpture by Street Artist Gwelm in Paris. Paris, France. January 2014. (photo © Gwelm)

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Images Of The Week: 01.26.14

Images Of The Week: 01.26.14

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BSA Images of the Week this week starts with a series of non Street Art photos because they are inside a hallowed hall of NYC high culture, namely the Phillip Johnson designed modernist building that houses the New York City Ballet at Lincoln Center. International Street Artist, photographer and populist JR made a splash this week here with his project that puts ballet at the center of our eye.

For the second year the ballet has featured a Street Artist to lead their new artist series (last year was the duo Faile) and we’re nominating some names for next year already. This week however, JR’s large scale photographs of the ballet company ruled on opening night as a wide variety of guests walked on them all and marvelled up close and personally with the dancers images that lay artfully throughout the room.

Some guests climbed stairs to look down upon the giant ocular piece from balconies above, and in a true spirit of interactivity some fans went the full-immersion route by laying upon the image itself,  striking a pose while friends took shots and tweeted and Instagrammed them. By the time the performers hit the stage we were all primed for the sprightly Gen Y talent to dance, and if this program by @balletnyc is successful, a new generation will also be filling the seats to see them this spring.

Here’s our weekly interview with the street, this week featuring Ainac, Bask, El Sol 25, Elbow-Toe, JR, Pyramid Oracle, and Swoon.

Top Image >> A new piece by Elbow Toe takes flight on the street in Brooklyn (photo © Jaime Rojo)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Jaime Rojo)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Jaime Rojo)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Jaime Rojo)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Jaime Rojo)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Steven P. Harrington)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Steven P. Harrington)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Steven P. Harrington)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Steven P. Harrington)

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The JR installation for his collaboration with The NYC Ballet Artists Series at Lincoln Center in Manhattan. (photo © Steven P. Harrington)

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Swoon (photo © Jaime Rojo)

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Pyramid Oracle (photo © Jaime Rojo)

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Pyramid Oracle (photo © Jaime Rojo)

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El Sol 25 (photo © Jaime Rojo)

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BASK new wall in Saint Petersburg, Florida. (photo © Jaime Rojo)

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AiNAC (photo © Jaime Rojo)

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Girl Power. Artist Unknown (photo © Jaime Rojo)

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

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Crash and Remi Rough “Flow” at Dorian Grey

Crash and Remi Rough “Flow” at Dorian Grey

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Remi Rough and Crash (photo © Jaime Rojo)

A Bronx-born bomber of the past teams up with a graffuturist from South London in this small gallery show in Manhattan’s East Village entitled “Flow”.

John “Crash” Matos has been a student and pioneer in pop, graffiti and Street Art over his 30+ years as an artist and here he takes his inspiration from the next generation Remi Rough when coupling his distinctive style with the abstract and the third dimension.

Now considered part of the geometric school of graffiti and Street Artists in Europe and the US sometimes referred to as graffuturism, the graffiti roots of Remi enable him to bend his forms to intersect and ride with the more curvilinear and cartoon inspired Crash.

While it is a side by side hanging collaboration of individual styles for much of the show, the vibrational strength arises from the union when the two are able to do as the show title suggests, creating an intersection through seamless collisions and sheer layering that complement the visual vocabulary of both.

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Remi Rough (photo © Jaime Rojo)

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Crash (photo © Jaime Rojo)

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Crash and Remi Rough (photo © Jaime Rojo)

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Crash and Remi Rough (photo © Jaime Rojo)

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Remi Rough (photo © Jaime Rojo)

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Crash (photo © Jaime Rojo)

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Remi Rough and Crash (photo © Jaime Rojo)

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Remi Rough and Crash (photo © Jaime Rojo)

“Flow” is currently on view at the Dorian Grey Gallery at 437 East 9th Street in New York City until February 23rd, 2014.

 

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BSA Film Friday: 01.24.14

BSA Film Friday: 01.24.14

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

Now screening :

1. Tati by Miguel Endara
2. Art as a Weapon: Trailer
3. Art Basel 2013 from Serringe
4. INTI Time Lapse
5. Faith 47 Time Lapse

BSA Special Feature: TATI

One of the females on the scene who consistently turns in ever more expansive and high quality work. No need for bragadoccio, just skills, which she has for miles. Here is a new video of her painting a mural for a business improvement district project in downtown Hollywood, Florida, directed by Miguel Endara.

 

Art as a Weapon: Trailer

“Street Art, Creativity, & Revolution collide in this beautifully shot film about art’s ability to create change. The film opens on the politically charged Burma border at the first school teaching Sreet Art as a form of non-violent struggle. Under the threat of imprisonment and torture, the students use stencils, spray paint and wheatpaste to engage the public and question authority. 8200 miles away artist, Shepard Fairey is painting a 30’ mural of a Burmese monk for the same reasons and to support the struggle for Democracy in Burma.” from Breadtruck Films.

 

Art Basel 2013 from Serringe

Did you make down to Miami this year to see the new murals going up at Wynwood? No problem, here is a very good  overview from Element Tree / Art Primo.

 

INTI Time Lapse from Tost Films

 

Faith47 Timelapse from Tost Films

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JR Goes To The Ballet: Dancing Across the Walls

JR Goes To The Ballet: Dancing Across the Walls

Street Artist JR has joined the ballet, or at least has become a collaborator with it.

Joining a short list of artists associated with the New York City company, and an even shorter list of Street Artists, the French photographer has been spending time in rehearsals with the performers to create these huge pasted images to greet patrons.

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JR (photo © Jaime Rojo)

The scale is impressive, the placement across the interior gives the place a sense of immediacy, with an echo of the transgressive to welcome guests to George Balanchine’s JEWELS, an epic performance evening consisting of three ballets: EMERALDS, RUBIES, and DIAMONDS, with music by Gabriel Faure, Igor Stravinsky, and Pyotr Ilyich Tschaikovsky.

Here are scenes from the installation of JR’s new pieces of the New York City Ballet Art Series (Twitter @nycballet). The big opening performance? Tonight!

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JR. Installation in progress. (photo © Jaime Rojo)

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JR (photo © Jaime Rojo)

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JR (photo © Jaime Rojo)

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JR (photo © Jaime Rojo)

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JR (photo © Jaime Rojo)

 

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Box Trucks as Rolling Graffiti Marquees

Box Trucks as Rolling Graffiti Marquees

A ubiquitous sight throughout large cities like New York, the graffiti covered box truck has inherited the all-city art mantle from the subway train cars of thirty years ago with eye-popping collaborations and solo pieces rolling on rubber wheels and circulating through every neighborhood.

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UFO 907 Crew (photo © Jaime Rojo)

“Box trucks are like the freight trains of New York Streets,” says Bishop 203, a Street Artist and graffiti writer who has successfully managed to parse the visual languages of both into his work – which of course includes a box truck when he can get one. “It’s the best of all worlds. If I do a wall in Bushwick, that’s cool because people in Brooklyn can see it. But if I do a truck in Bushwick, it’s going to go through Brooklyn, Queens, the Bronx, Manhattan – who knows?”

Rugged, dirty, grimey, half-rusted – these trucks are rather similar to freights now that you think about it. They do the grueling thankless work of moving everything through the streets, often barreling by at high speeds and careening around corners to meet deadlines. They are carrying everything – produce, baked goods, heavy appliances, iron, steel, glass, equipment for many industries, racks full of garments, crates full of flowers, even art… and if you are passing through most business districts in the middle of the day, you will see them backing into loading docks or double parked in the street with blinking lights, the back door rolled up, and guys and gals shuttling with dollies across the sidewalk to and from restaurants and bodegas.

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GenII, Oze 907 Crew (photo © Jaime Rojo)

While painting a box truck is not exactly the same as “going all city”, if your art is literally rolling throughout the entire metropolis in the same way that tracks once carried aerosol art for 1970s/80s writers who crushed train lines, you experience a feeling that is pretty golden. “It’s like a mobile billboard for hooligans,” says Bishop, only half joking.

Wherever photographer Jaime Rojo travels throughout the city looking for new shots, he is almost guaranteed to see a box truck. What began as a casual collecting of these rolling canvasses eventually is swelling into a full-fledged gallery. He’s not sure what he’ll do with all of them, but here’s a taste of some of the trucks to whet your appetite.

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DEK (photo © Jaime Rojo)

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Cekis (photo © Jaime Rojo)

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Cern (photo © Jaime Rojo)

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ND’A (photo © Jaime Rojo)

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SeeOne, ND’A (photo © Jaime Rojo)

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VLOK Crew (photo © Jaime Rojo)

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Stem, Gano, VGL (photo © Jaime Rojo)

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Cope, Cano, JAOne (photo © Jaime Rojo)

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Staino (photo © Jaime Rojo)

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Staino, Rambo, Sevs (photo © Jaime Rojo)

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Staino, Fade AAMob (photo © Jaime Rojo)

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Ski, Optimo, Mok (photo © Jaime Rojo)

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Jelly Fish (photo © Jaime Rojo)

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Ski, 2Ease, KA  (photo © Jaime Rojo)

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Ski, 2Ease, Kepts, KA (photo © Jaime Rojo)

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Jedi, Sae, Aven, Baal (in front of a mural by Faile) (photo © Jaime Rojo)

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Ski, 2Ease, Velo, Fuk, Dred (photo © Jaime Rojo)

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Deter (photo © Jaime Rojo)

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Sevor, Ideal (photo © Jaime Rojo)

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Fame (photo © Jaime Rojo)

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Reader, Abra, Mas, Boans (in front of a wall piece by Overunder) (photo © Jaime Rojo)

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Ski, 2Ease (photo © Jaime Rojo)

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Lefty (photo © Jaime Rojo)

Sincere thanks to Bishop203 and Bato for their assistance with identifying some of these artists.

 

 

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Instantaneous Memorials on Street to “Army of One”

Instantaneous Memorials on Street to “Army of One”

As a followup to yesterday’s posting regarding the passing of Jef Campion, known as the street artist Army of One/ JC2, it is perhaps no surprise that nearly immediately there are a couple of tributes to him on the street – at least in LA.

Street Artist Free Humanity sent us these new photos of a new stencil piece by Teach_Art_One featuring Jef looking over his shoulder at you and placing his name on the wall.  According to Free Humanity these new works are on the spots that Jef had hit when visiting Melrose and Fairfax in Los Angeles.

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A brand new memorial tribute to Army of One in Los Angeles. Teach_Art_One (photo © Thrashbird)

“I was blessed to call him a brother,” says Free Humanity of Army of One. FH feels that the new stencils appeared as a way to keep him on the streets. Awash in the grief of the moment FH wanted to say “the only way to have someone live forever is to never stop loving them.”

Apart from the high emotions of this time, we wanted to remark that this act of the tribute wall is analogous to the myriad walls that have been going up for decades in cities like Los Angeles, Chicago, and New York – usually in the community mural style – to mark the passing of someone. Sometimes it is a community leader not related to art but of great standing to the people who live in the locality. Other times a tribute will commemorate a person in the context of an historical event that they were pivotal to.

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A brand new memorial tribute to Army of One in Los Angeles. Teach_Art_One (photo © Thrashbird)

Graffiti crews have been paying tributes to their fallen for many years on memorial walls. Over the last year for example we have covered a large number of walls made by the crew and friends of graffiti writer Nekst. Needless to say the act of crossing out, going over, or dissing works like those would be considered to be as close to sacrilege as the streets can imagine.

These new stencils honoring Army of One carry on this tradition and it is additionally visually remarkable because the newly sprayed stencil is a street art piece depicting a street artist who is putting up street art – It is akin to looking at a mirror’s reflection in a mirror.

 

 

Photographer Thrashbird’s Instagram is @thrashBird13

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Army Of One, Inspiration To Many : Jef Campion

Army Of One, Inspiration To Many : Jef Campion

New York’s Street Art and graffiti scene learned this weekend of the passing of one of its artists, Jef Campion, who went by the name of Army of One/ JC2. Jef died at his home in  Yonkers Friday night at the age of 52 and for those who knew him for his physically and personally powerful presence, the news came as a complete surprise.

A New Yorker through and through, Jef was known as a firefighter and first responder to Ground Zero after the 9/11 attacks who spent more than a month in that recovery effort, as a volunteer who gave a great deal of time and energy to working with charity organizations for children who were very ill, and for being a fine artist, a street artist, and an anti-war activist.

Speaking with many who knew him closely over the last few days, we learned that his days were not always light and he sometimes suffered from PTSD and related issues, but that he considered himself an overcomer and gave support and encouragement to his peers in the art world. We always saw him as a person who was determined to use his art and his creativity as a force for good in the world.  He also knew how to walk the talk.

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Army Of One AKA JC2 (photo © Jaime Rojo)

As a Street Artist he was perhaps best known for adapting a photograph by Diane Arbus entitled Child with Toy Hand Grenade in Central Park, New York City (1962), and converting it into a sharply graphic anti-war message that he reproduced numerous times in many sizes and mediums to put onto the street. “Army of One” was usually scrawled like a shouting slogan alongside the wheatpaste of the silhouetted image. Sometimes the text was in black and other times it was in a red that matched the dripping red grenade in the boys hand. A startling sight to encounter in a doorway or on a signpost, it was at once a protest and a warning that war is not child’s play.

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On the left, the original Child with Toy Hand Grenade in Central Park, New York City (1962), by Diane Arbus. One right, its adaptation by Street Artist Jef Campion aka Army of One/ JC2 pasted over a collage by Street Artist ShinShin (photo © Jaime Rojo)

For Jef it was an effective way to remind us that war invariably damages those who have nothing to do with the fight, some of our most vulnerable and treasured people who suffer from our unspeakable callousness and disregard for life.

When Jef put this work out on the street it wasn’t to get personal fame as much as it was to change minds and hearts. Jef hoped his art could give voice to the voiceless. In recent years his own red-painted hand became as important a symbol of the insanity and brutality of war as any of his work created for the street.

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Army Of One AKA JC2 (photo © Jaime Rojo)

Our condolences and thoughts and prayers go out to Jef’s family and friends today on Martin Luther King day and in the difficult days ahead. We also send our hopes that they can take comfort in knowing how much of a positive influence he was on many artists and peers, as well as complete strangers and passersby. Following we share with BSA readers remembrances from five people, but we easily could have presented many more.

GILF!
Street Artist and social, political, cultural advocate.

I met Jef during Art Basel Miami in 2011 at Fountain Art Fair. I had been familiar with his street work but was ultimately introduced to him by Samson Contompasis. He immediately went out of his way to include and befriend me, and with a megawatt smile on his face.

Jef reached out to me for a project about a year ago via email. We met up in person and had a lengthy discussion about war, the children at risk, and our ability to facilitate change for these young lives. He was always so focused on how he could help others. You could tell how passionate he was about the destruction of war with his work through his words and through his actions.

He never gave up, was always trying to do more to help, and feared no one. He did all of that while constantly supporting his friends and lending a hand whenever needed. His smiles and laughs were infectious and you couldn’t help but be happy around him. I will be forever grateful to have known such a righteous and honorable soul. His rebel spirit will continue to inspire me as I find ways of coping with this loss.

Of many we are all an Army of One.

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“This image was taken a day after we met. He was so welcoming and kind. We were instant friends.” (photo © Gilf)

 

Sinxero (SX)
Fine Grafstract artist, designer and gallery/mural curator based in The Bronx

I first met Jef, aka: “Army of One” at the “Street Artists Unite” exhibit at Dorian Grey Gallery where Jef was showing his art, a body of work and presence that commanded your attention. Jef and I shared a vision where artists could make a difference as “Comrades In Art”. Combining our artistic and business related goals, Jef and I formed “The Army Grows,” (TAG), with him as a resident activist. We expanded our mission to encourage both street & graffiti artists to work together and now TAG is also known as “The Art of Grafstract”.

Jef’s plethora of knowledge was priceless. His street & fine art grind was hard and direct, undiluted.

Why was Jef important to me and the Street Art / Graffiti scene? One day I remember showing up early to one of his many exhibits. Upon arriving Jef said, “let’s take a walk, its still early.” As we walked down Orchard Street, Jef took notice of a pair of gentlemen’s boots in a window display and walked in to ask the salesperson for his size. As we sat and waited for the gentleman to come back Jef and I discussed curating murals, owning your moniker and how to reach out to sponsors in order to build your name up. He told me that sometimes it is better to slow down and take notice of all that’s around you and address things one at a time – a better approach than it’s complete opposite.

I am grateful for having met Jef and having been given the opportunity to see life through his eyes. If anyone could walk a mile in Jef’s boots in the way he gave, embraced and loved as a friend, artist and compassionate human being they would be king for a day.

Jef, you were truly an “Army of One.” In your name, “The Army Grows.”

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Jef Campion (Army of One/ JC2) and Sinxero (photo © Sinxero)

Fumero
Street artist and fine artist.

I first noticed Army of One back in 2009 with his use of the Diane Arbus’ photo, ‘Grenade Boy’ and another graphic that followed, ‘The Bride of War’. As I walked the city streets after midnight, I always ‘ran into’ Jef (AoO) everywhere I went. I appreciated the image. It caught my attention because it had a gritty, NYC quality about it.

As a street artist, you usually meet others through their work first and later you actually wind up meeting the artist in person. I met Jef during the summer of 2010 at an upstate New York street art event. The moment we exchanged stickers, we already had a good sense of what the person was about. His message emphasized ‘peace’ and mine was about ‘family’.

Soon after that we met again to put some art after dark up in lower Manhattan and from that point on we became friends. In the years that followed we both participated in the same events here in NY and at Art Basel, Miami. Our greatest collaboration was for the XCIA’s Street Art Project book.

Army of One’s social commentary about needless wars that produce needless bloodshed was the central idea behind his message. I respected that notion and also that this message was everywhere. I admired his passion to spread his art and the enjoyment he received from it. Jef was a serious artist and if you knew him you understood why he was compelled to promote his idea to the public. His left a profound statement for us to never forget that each and every one of us has the freedom to be who and what we want to be and to live life accordingly and although we have different colors of our skin we are all ‘red’ inside and that makes us all the same; human.

I’m thankful to express my words about my friend. He will be missed. He was a force to be reckoned with, he was truly an army of one.

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Fumero and Jef Campion, Army of One/ JC2 (photo © Fumero)

OCMC (Oh Captain My Captain)
Street artist and fine artist.

Jef was an important figure to me personally in the scene, as he was the first street artist I ever met. I had been doing it a while and saw his work everywhere. By a fluke the first art show I appeared in was a benefit show he was also in and we met there. It was exciting to meet someone who did what I did, and even more so because Jef was incredibly gracious and encouraging. It wound up we were from the same neighborhood so we shared a bond over that. From then on we were friends.

For the scene itself, I feel Jef was a very important voice. There is naturally a lot of ego in street art and graffiti. Jef’s art was about the meaning, not the advertising. He felt deeply for his cause and it was loud and clear in his artwork. Loud like that grenade of his.

Many of the posts I have seen since his passing describe him as a “great guy”, and how kind he was… And it’s very much the truth. Jef was a truly great man. His job involved saving peoples lives, his spare time involved helping kids with cancer, and his art involved his deep belief that war is never the answer. He wasn’t just a great voice out in the streets, his was a great voice for the world.

There’s a show coming we were both going to be in, and I am going to miss the way he would light up when he’d see me with an “OCMC!” and the hug that would follow… It always felt great to stand in the light Jef shined on you. But I am hardly unique there, because he made everyone feel like that light. That’s what I’ll remember most.

 

Samson Contompasis
Former gallery owner and artist

I worked with Jef at a few different points to help his studio work reach more people. I found Jef the same way many other people did, by his relentless coverage of the streets. When I met him for the first time the scope of this man expanded exponentially. Upon inviting me to his studio it was apparent that this street artist was much more then that; he was a fine artist of extraordinary measure. Whether it was his handwritten accounts of his life scrawled on vellum, his giant assemblages of nails, raw wood, and pieces of the city strewn about them, or his neon accompanied statements of original sin on charred wood that he tore out of a fire with his bare hands, I felt that his studio was a doorway into his soul and everything was brimming with emotion from the life he led.

One of the most important parts of Jef’s street work was that he had a message. He wasn’t just writing his name on a wall for himself or a crew…he was writing it for a greater purpose. To spread a message of peace. His intention was for that of a better world . There was a moment during a show where a woman was offended by a piece of his…. and I remember that at one point he simply stated, “Walk a mile in my shoes” We can never pretend to know the weight of someone’s soul….but if I was a betting man he would be giving the sun a run for its money.

He spoke to us with full lungs and a determined spirit in everything he did. He did not have the easiest life, having dealt with hard addictions growing up and PTSD later in life but it never kept this man from smiling. He was one of the only people that could effectively hug me back.

Jef, my sorrow is deep, but I know you’ve already been through hell and you will be shaking Gods hand with red paint. You will be always there and forever missed.

 

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“It is my tribute letting him know he is in our hearts and minds, says Samson of this new self portrait.” (photo © Samson Contompasis)

Samson also shares with us a poem that Jef wrote, from an installation named “Sanctuary”.

Atrophy

I’m awake now

I believe in fate
I believe suicide would not have been the answer.
I believe the drugs were not a deterrent but a lesson
a task
a journey

I believe Central Park in late May
Sitting on the bench in East Hampton and watching the ocean

Solitude

Chet Baker on a rainy Sunday afternoon
Beat cultures
Bohemian lifestyles

I believe Miles Davis
And Coltrane
Tom Waits will never die

The human form Vine charcoal and a large canvas
Jose Guadalupe Posada Francis Bacon
Brie

The Hudson River right outside Irvington NY
Baja Mexico Ice cold beer, In the shade of a palm tree
Laguna Beach at 11am Venice beach at 6pm New York City 24/7

Rene’s trust
Mimma’s eyes
Joanne’s soul
My grandparents who without I never survive this mess

I believe in a partner who can love you with every cell in their body.

Self inflicted pain is not the answer my friend

You’re going to suffer You’re going to bleed You’re going to fall

You’re going to die

I’m awake

Now.

~ Jef Campion

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Army Of One AKA JC2 (photo © Jaime Rojo)

Correction: An earlier posting listed Campion’s home as the Bronx. It was changed to Yonkers.

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