Martha Bikes the Hills, Martyn Keeps Up at NUART 2013

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“We’re really honored to have Martha amongst us this week,” says Martyn Reed, the barely well behaved director of Nuart 2013, as he welcomes the photographer Martha Cooper, who has just touched down next to the new piece going up on the airport control tower by Polish Street Artist M-City. Not that Martyn was there when she landed. “Unfortunately not, what with the Mayor and everything there wasn’t room in the limo,” he says in the joking manner that tells you he is still kind of in awe of the success of this internationally known Street Art festival now underway for its ninth year.

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Martha Cooper. “Banner on wall in arrival area at airport” -MC. (photo © Martha Cooper)

“The trip was fine—a short flight from Oslo,” says Ms. Cooper, who immediately snuck an iPhone photo of the welcome banner with her name at the top, before wondering whether photos were actually allowed in that area of the airport. “I was met by Krystal, a Stavanger resident who has worked with Nuart before and who is very knowledgeable about the artists and the whereabouts of murals past and present,” she says.

“Faith 47 and Daleast were also waiting at the airport, having arrived a few minutes earlier from Cape Town and it was fun to reconnect with them.” And did they all get a look at the new piece that M-City is painting?  “Unfortunately it was raining so we were unable to get a good look at the airport control tower which was shrouded in scaffolding and plastic,” says Ms. Cooper, but “The fact that permission had been obtained to paint the tower is an indication of how city officials have embraced street art.”

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Martha Cooper. “This is Stavanger. I have a bike to ride around on but need to get in better shape to handle the hills”- MC. (photo © Martha Cooper)

As the visiting artists continue to land in Stavanger, already a number of pieces have gone up – ROA and David Choe have installed theirs and run out of town, for example.  “I was especially happy to see C215 again because I hadn’t seen him since visiting Vitry a couple of years ago. Also I was excited to see a number of artists on the list whose work I was unfamiliar with. That always makes a festival more exciting,” says Martha.

Brooklyn Street Art: Have you been to Nuart before?
Martha Cooper: This is my first trip to Stavanger and I was really looking forward to it because I’d heard many great things about the festival from How & Nosm and also photographer Ian Cox, who had shown me beautiful photos of the walls and the charming seaside town.

Brooklyn Street Art: Typically you are an invited guest as a photographer. This time you are also regarded as an artist, right?
Martha Cooper: Correct. Although I usually say that I’m not an artist, it’s actually a relief not to be responsible for official photography.

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Ian Cox. David Choe teaser. (photo © Ian Cox)

Brooklyn Street Art: What sort of project are you thinking of doing?
Martha Cooper: I’m not doing anything unusual. I’m having a slideshow of over 1300 photos; a sort of graffiti/hip hop/Street Art retrospective that we’ll be showing in an underground tunnel in the main venue. There is a series of short tunnels that artists are painting. Aiko is stenciling the sides of mine and the slides will be projected at the end.”

Cooper mentions her buddy Aiko, who will also be stenciling some work of her own on distinctive Norwegian seaport architecture that sometimes has as much character as the new stuff that adorns it. Aside from her projected installations, Ms. Cooper will of course be every where she can possibly be with her camera in hand, and probably one or two in her backpack.

“Martha’s here as an artist and our guest, she’ll be treated the same as all of our artists; Like a Queen,” Reed cracks, “only on a bike with a camera.”

“But seriously,” he continues, ”Martha’s quite rightly perfectly happy being recognized as a documentary photographer and I wasn’t sure she would accept being invited as an artist, but she did and we’re very thankful of that. I don’t see any reason why Martha can’t occupy this space. Inviting Martha to participate as an artist is due to the fact that, when I look at her work, I see art. I’d also heard she was a wonderful down to earth person with few airs and that’s very important for Nuart, which is fundamentally a volunteer-run organization.”

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Ian Cox. Aiko teaser. “The blurred character is a volunteer who was helping Aiko to move her scaffold”-IC. (photo © Ian Cox)

Already the two of them have been having fun together checking out possible walls for projects, digging up found materials and strategizing how to prevent visitors from stepping in front of the projector on opening night. Also there was the moment in one of the installation tunnels when Martha came rushing toward him with her phone out to him saying “,Quick, quick, it’s the attaché to the Norwegian Culture Minister, they want to speak to you”. It was a confusing moment he won’t ever forget he says, because he couldn’t imagine why the minister was on Martha’s phone.

Reed recalls, “I was thinking, a) it was a practical joke, b) ‘how did they know where I was,’ and more importantly, c) How the hell did they get Martha Cooper’s private number?” While Martha stood there beaming he took the phone and the voice on the other end said, “ Hello, this is the personal assistant to the culture minister Hadja Tajik, she’d like to visit Nuart on Thursday…” .

“After the call, we stood there a little dumbfounded, but after scratching our heads for a while trying to work out how they came to call Martha, we realized the festival had used my bank card to buy a Norwegian SiM card for her phone and that the Government had searched and found the number registered to me,” he says with a brightening realization, and then a darkening one. “I know, very NSA. Anyway, mystery solved.”

But for him, the moment was a marker in his memory, he says, “The image of Martha Cooper rushing over to pass me the phone to speak with the Culture Minister of Norway will stay with me for life. It felt like the festival had finally come of age.”

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Martha Cooper. ROA. “Whale spouting oil. Stavanger is an oil rich town”-MC. (photo © Martha Cooper)

For her part, Ms. Cooper is laying plans for the out door component of her participation as artist/documentarian/photographer. “We are also planning to project photos on the sides of buildings in town,” she reveals, “ – including a huge silo. This will be the night of the opening and we won’t know whether it works until it happens. I’ve selected about 25 verticals and horizontals with a little more contrast that I think might work well.”

Reed doesn’t much mind what they end up doing – he’s just glad that he’s having this opportunity right now. “Martha holds the unique position of being a forerunner, pioneer, ambassador and also important contemporary voice in our culture – we wanted to salute that.”

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Ian Cox. M-City painting the Air Traffic Control tower at Stavanger Airport. (photo © Ian Cox)

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Martha Cooper. “M-City with his completed control tower mural. Scaffolding to be removed in a day or two but he has already left”-MC. (photo © Martha Cooper)

 

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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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“Los Muros Hablan NYC”, a Voice from the Street in Harlem and El Barrio

Oh! If only these walls could speak! The diverse stories of New York’s 20th/21st century immigrants would yell above the racing traffic north of 96th Street.

Inspired in part by a similarly named festival held last year in Santurce, Puerto Rico, Los Muros Hablan NYC just took place in Harlem and the South Bronx, bringing Street Artists and muralists together from Latin America, Puerto Rico, and New York.  In a coordinated effort with the museum El Museo del Barrio, a cultural space called La Repuesta, and the office of local Councilwoman Melissa Mark-Viverito, the festival gathered a scattered collection of walls under one name.

Combining an animated neighborhood block party, live music, and panel discussion, Los Murals Hablan (translated as “The Murals Speak”) brought back a part of New York street life that sometimes feels like it is disappearing in the grand blanding of Manhattan. We look at it as a reinvigoration; a continuation of the tradition of community murals and graffiti influences from El Barrio while updating it to include the stunning new directions of a global Street Art scene.

Invited artists included were Axel Void, Celso Gonzales, Roberto Biaggi, Elian & Pastel, Jufe, Betsy Casañas, Manny Vega, LNY, Don Rim X, and Viajero. Here are images of some of the artists and their work by photographer Jaime Rojo.

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Axel Void. The Spanish artist collaborates with photographer Martha Cooper using an image from her Street Play book which focused on the building of a clubhouse from found materials by neighborhood kids. (photo © Jaime Rojo)

For an artist born in Miami of a Haitian mom and raised in Spain, the concept of home in this city of immigrants is especially poignant. On his Facebook description of his wall Axel says, “The concept fits the event that Los Muros Hablan proposed, ‘Diaspora’. In a neighborhood like East Harlem, there is a great mix of nationalities that all meet at this place they now call home. It was really something to see the different reactions and hospitality of the people who would pass by or lived across from the wall. This wall is dedicated to them.”

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Axel Void. The Spanish/American artist used a photocopy from the Martha Cooper book that focused on the games kids played in the Alphabet City section of New York in the 1970s. (photo © Jaime Rojo)

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Axel Void’s finished tribute to El Barrio and Martha Cooper. (photo © Jaime Rojo)

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Axel Void.  (photo © Jaime Rojo)

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Betsy Casañas and team at work. (photo © Jaime Rojo)

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A detail from the mural by Betsy Casañas. (photo © Jaime Rojo)

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A detail from the mural by Betsy Casañas. (photo © Jaime Rojo)


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The only abstract modernist in the group, Street Artist Elian is from Córdoba, Argentina and arrived in New York with his friend and fellow painter Pastel – both fresh from Living Walls Atlanta. A self-taught artist, Elian is also co-director back in his home city, which he deeply loves. (photo © Jaime Rojo)

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Don Rim X (photo © Jaime Rojo)

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Don Rim X (photo © Jaime Rojo)

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Celso Gonzalez. Roberto Biaggi (photo © Jaime Rojo)

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Celso Gonzalez. Roberto Biaggi (photo © Jaime Rojo)


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A thinking persons Street Artist LNY examines identity as seen through the prism of experience. From Ecuador and New Jersey, his own work talks about unusual hybrids and boundaries in culture and nationality. His monstrous piece is called “The end of race / Libertad y Xul antes del desayunó” (photo © Jaime Rojo)

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LNY (photo © Jaime Rojo)

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An architect and painter from Buenos Aires, Pastel created this subtle amalgam of a wooded area beneath a floating geometric screening, as if to enlarge the basic building structures that lie deep in nature. (photo © Jaime Rojo)

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Viajero at work at Los Muros Hablan NYC. (photo © Jaime Rojo)

New Yorker Viajero has his studio in Brooklyn and his heart in Puerto Rico. The artist draws on tradition and reveres those who came before him as well as the power that lies in the community today. With an interest in sculpture and installation as well as drawing Viajero’s mural flies off the wall so that it can also hang from the limbs of a tree in front of it. If only his mural could speak!

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Viajero (photo © Jaime Rojo)

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Viajero (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 piece is also published in the Huffington Post

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Visa Problems? Don’t Worry. ROBBBB Will Take You To Europe

We like to say that the world has become more global over the last twenty years, but that doesn’t necessarily apply to you. Money, jobs, and trade are increasingly free to traverse boarders in this age of globalism, yes. Getting a visa to leave and explore and learn about another culture and come back home may still prove to be impossible, depending on where you live.

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Robbbb. Paris. Summer 2013. (photo © Robbbb)

Beijing based Street Artist ROBBBB recently took a small troupe of his countrymen/women to Europe and put them on the streets of Milan, Florence, Paris, Madrid, Barcelona, and Lisbon.  He says it is a sort of cultural exchange, even if the real people in these wheat-pastes never left home.

“I put the most real and authentic Chinese people in these pieces so that they could be in a different political, social and cultural environment in Europe,” he explains of the six-city tour. “I also wonder how the Europeans will think of these Chinese subjects and what their reaction is to seeing them in these locations.”

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Robbbb. Paris. Summer 2013. (photo © Robbbb)

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Robbbb. Milan. Summer 2013. (photo © Robbbb)

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Robbbb. Milan. Summer 2013. (photo © Robbbb)

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Robbbb. Madrid. Summer 2013. (photo © Robbbb)

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Robbbb. Florence. Summer 2013. (photo © Robbbb)

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Robbbb. Barcelona. Summer 2013. (photo © Robbbb)

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Robbbb. Lisbon. Summer 2013. (photo © Robbbb)

 

 

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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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NUART 2013 Begins >><< BSA Will Take You There

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Heads up to BSA readers that the annual trip up north to Stavanger Norway is about to begin and we’ll be providing you with exclusive shots and insights as the events progress in this coastal town eight hours south of Oslo. With a working title of “Invisible Cities” Nuart 2013 takes an inspiration from the author Italo Calvino, who likens city streets to the lines in your hand.

Here is a snappy video introducing this years events. Even as guests have been arriving over the weekend, some artists like ROA and David Choe have already begun their pieces.

Directed by Martyn Reed managed by Marte Jølbo and a coterie of dedicated organizers and people in the local arts community, Nuart evolves your expectations every year about what a Street Art festival can be, but a few things stand: outstanding placement, high quality work, stimulating conversations, and head-whopping beer.

This years lineup is their most international, including:

MARTHA COOPER (US), DAL EAST (CN), ROA (BE), M-CITY (PL), FAITH47 (ZA), HUSH (UK), VHILS (PT), ERNEST ZACHAREVIC (LT), C215 (FR), DOT DOT DOT (NO), DOTMASTER (UK), STRØK (NO), MARTIN WHATSON (NO), DAVID CHOE (US) AIKO (JP)

 

For more on NUART 2013 click HERE.

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The Perpetual Magic of Small Art On The Streets

“I was thinking about the whole idea of genius and creative people, and the notion that if you create some magical art, somehow that exempts you from having to pay attention to the small things.” ~ Bell Hooks

On the street, the most magical art is sometimes the most miniature.

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TV With Cheese. (photo © Jaime Rojo)

It can be easy to overlook the small and smartly cut stencil or meticulously markered sticker that pops up on a dumpster or illuminates a light pole when you are being overpowered by the panoramic painting that swallows the expanse of an entire wall. Getting up big is big right now. Making a splash with an ocean of pigments appears to be the norm rather than the exception in art in the streets at the moment – thanks to very organized festivals and welcoming real estate folks and an ever more appreciative appetite by the public.

But that doesn’t mean the petite pieces have perished. At times they appear to proliferate.

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TV With Cheese. (photo © Jaime Rojo)

Small Street Art pieces seem to pop up on the streets overnight like mushrooms in the urban forest – aided by the darkness and fertile conditions – small and surprisingly shaped upcroppings, some tasty and complex and others that may poison your pleasant disposition. We still remember the thrill of walking the desolate streets of Williamsburg, Bushwick, Red Hook and Greenpoint in the late 90s/early 2000s and discovering the “hidden” Street Art that suddenly surfaced without announcement. Amidst a sorry series of sadly deflated industrial sites you would see a hand drawn sticker, a grease-penciled poem, a knitted pole cozy, a pasted collage of textures, photos, and text. Its less frequent right now, but the practice has continued partly because it is quick to install and the effect can have impact and a certain intimacy.

Also, not everyone has a burning need for the big stage. As we all know, the biggest talker in the room is not necessarily the most humorous, insightful, genius or certainly, the most magical.

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TV With Cheese. (photo © Jaime Rojo)

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TV With Cheese. (photo © Jaime Rojo)

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K8 (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Dan Witz. From The Natural History Street Art 2013 Series. (photo © Jaime Rojo)

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Dan Witz. From The Natural History Street Art 2013 Series. (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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RAE (photo © Jaime Rojo)

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Myth (photo © Jaime Rojo)

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Myth (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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CB23 . Foxx Face (photo © Jaime Rojo)

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H (photo © Jaime Rojo)

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Artist Unknown (Signed but not legible). (photo © Jaime Rojo)

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Spidertag (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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$howta (photo © Jaime Rojo)

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R (photo © Jaime Rojo)

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Artist Unknown (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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Images Of The Week: 09.01.13

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September is the perfect time of the year for Street Art in NYC – and shout out to the NYTimes who ran a double spread and video this week with images of Street Art and graffiti you can see here every week – including the great MOMO piece in Dumbo that was commissioned by Two Trees, and walls from the Bushwick Collective, 5 Pointz, Welling Court, Hunts Point, Coney Island and more. Seeing the collection made us think about how much BSA really covers throughout New York and the world every month and that made us happy as Bill DiBlasio, the apparent next mayor of NYC.

Also it was cool this week to step back and see everybody at the “Wild Style” 30th Anniversary free show in the park by the East River – to see so many people including Lee Quinones, both Ahearn brothers, Cold Crush brothers, Lady Pink, Fab Five Freddy, Futura, Mare 139, Jane Dickson, Lisa Lee, Patti Astor, Joe Conzo, Martha Cooper, among others – and Busy B, who reminded us that the early days of hip-hop were about “peace, love, unity, and having fun”. Yeah, we’re on board for more of that.

Stay tuned this month for exclusive BSA coverage of Nuart ’13 in Stavanger, Urban Forms in Lodz, Faile at the Dallas Contemporary, a number of new gallery shows with the new crop of artists on display, and even a chance for BSA to meet you in Bushwick at a special event on the 19th, wink wink.

So here’s our weekly interview with the street, this week including Amanda Wong, Bunny M, Case Maclaim, Dede, Droid 907, Freddie 111 Street, Gilf!, Josh McCutchen, Judith Supine, Meer sau, Phetus, Phlegm, PRVRT, r1, Reme821, SARZTKG, and Vexta.

Top image is by Judith Supine (photo © Jaime Rojo).

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Judith Supine. Detail. (photo © Jaime Rojo)

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PRVRT (photo © Jaime Rojo)

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Vexta, Gilf! and the Boyz. (photo © Jaime Rojo)

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Phlegm (photo © Jaime Rojo)

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Phlegm. Detail. (photo © Jaime Rojo)

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r1. Johannesburg, South Africa.  (photo © r1.)

“The piece is made of reclaimed plastic bottles that were assembled in a large wire mesh,” says South African installation artist r1, who created this piece in a way that reminded us of the El Anatsui show this year at the Brooklyn Museum and on the Highline.  “Community and street art seems to work well together,” r1 says when recalling the spontaneously posing kids who arrived to get in the picture.

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r1. Johannesburg, South Africa.  (photo © r1.)

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Phetus . Reme821  (photo © Jaime Rojo)

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DEDE  (photo © Jaime Rojo)

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Artist Unknown  (photo © Jaime Rojo)

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Meer Sau. Translation: “Damn, looking good today!” Salzburg, Austria. (photo © Meer Sau)

Meer Sau shares these smiles with BSA readers this week, where a crosswalk is emblazoned with some words of encouragement. He did the installation and then stood around waiting to see what expressions he could capture. “Everybody wants compliments,” Sau explains.

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Josh McCutchen (photo © Jaime Rojo)

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Freddie 111 Street.  (photo © Jaime Rojo)

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Case Maclaim (photo © Jaime Rojo)

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Droid907, Amanda Wong and SARZ TKG in Atlanta. (photo © SARZ TKG)

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Magnet Wall in Chelsea with some regulars and new additions.  (photo © Jaime Rojo)

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bunny M (photo © Jaime Rojo)

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Untitled. Lower East Side, Manhattan, NYC. 2012  (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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Sneak Peek at Hellbent “No Wave” at Cave

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Hellbent is in LA to open his show at CAVE tonight, and he shares with you these exclusive shots of the next phase of his abstract patterned color bars for the gallery he calls Mix Tapes. New is the sophistication in dimension and shadow, and a lot more white space, with pieces broken apart and reassembled in a looser, less dense buildup – a continuation of the direction he began for the “Spectrum” group show he was in last month.

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“My ‘No Wave’ paintings are a further exploration of abstraction that I have been working on for the last year and half and I feel that they are going to continue to evolve,” he says. “In the same way that Richard Dieberkorn’s Ocean Park series was a 7-year journey, I think the Mix Tape series is only in its infancy.”

 

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“With these current paintings I have been exploring leaving parts of the canvas untouched and allowing the white of the gesso to become a part of the paintings. I think this lets the painting breath and provides a ground for the viewer.”

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“I have also been adding shadow to some of the different ‘Shafts’ to enhance the dimensionality of these paintings.  While in the early phase of this work I think the color itself had achieved a 3D effect, if subtly, with the shadows it is instantly apparent. I was initially hesitant about the shadows but I have been having so much fun and since I had used them in murals in the past it was an easy transition. I am having a lot fun playing with these different layers and figuring out the different planes of the canvas as I construct them.”

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All images courtesy and © of Hellbent and Cave Gallery

Check out more about “No Wave” on Facebook.

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BSA Film Friday: 08.30.13

 

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

Now screening: Augustine Kofie in Paris with TRBDSGN, C215 is “Dreaming In The Back of The Classroom”, Ben Slow with Jim McElvaney and Best Ever in London, and Know Hope prepares for “The Abstract And The Very Real”.

BSA Special Feature: Augustine Kofie
in Paris with TRBDSGN

Kofie, Hobz and Honda address the wall schematically and with precision; an integrated and collaborative conversation with cans, tape, diffusers, an improvised protracter, and cell phones of course. It’s an unassuming record of a dedicated trio working together while kids fly by on transportation methods that are similarly time-tested as well as improvised.

 

 

C215 is Dreaming In The Back of The Classroom

For his recent TED Talk Christian Guémy reveals his philosophical approach to his creativity on the street, the impact of his personal relationships and his life path on his work.  It is instructive to see the profound effect of a persons’ biography on the selection of work and even how it is expressed on the street.

 

(Turn the CAPTIONS button on lower right corner for subtitles)

 

Ben Slow, Jim McElvaney and Best Ever in London

Four guys on Old Street in London take on the challenge of a huge wall together at The White Collar Factory by Fifth Wall.

Know Hope prepares for “The Abstract And The Very Real”

The weight of the world, patriotism, and his place in the street. Living in Israel, Street Artist/fine artist Know Hope understands well the personal, the political, the historical –  and how a continuously charged environment affects the art he creates. For his new gallery show at Lazarides, the artist reflects on his poetic approach to abstract realities. While examining walls, borders, and fences Know Hope pursues avenues to show how the bonds between emotional perceptions and political ones are inseparable.

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HDL has Rainbows, Butterflies, Razorwire

A quick check with Detroit’s Hygenic Dress League, the conceptual Street Art duo who brought rainbows, butterflies and semi automatic weapons to Oakland and the tropical islands of Hawaii this August. As always, the messages are intentionally mixed, and particularly when viewed through chain linked fencing topped with razor wire in Oakland, the scrambling of transmissions is pleasantly disturbing.

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HDL in Oakland. Detail. (photo © Steve Coy)

Soon the leaves will be falling and the hottest Fall ’13 looks will be ready for you to buy. In this high-security retail environment, HDL’s militarized and sexy guard could be handling a dangerous “situation” or is just directing you to a nearby sales rack of fall fashions in this tough and trendy boutique. Perhaps it is HDL’s concept of an idyllic shopping paradise for consumers that conveniently is also a high security prison to keep you safe from outside danger. Hope they take credit cards.

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HDL in Oakland. (photo © Steve Coy)

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HDL in Hawaii. (photo © Steve Coy)

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MLK “I Have A Dream”: 50 Years Later in the Streets

“We have also come to this hallowed spot to remind America of the fierce urgency of now.”

The streets have always been a powerful venue for everyday men and women to advocate their political views and to be visible, to be heard, to champion and to demand. Today we commemorate the 50th anniversary of the March on Washington for Jobs and Freedom and all that it achieved and how we all changed as a result of it, even as we recognize how far yet we have to go for everyone to be treated fairly and the great cost the struggle exacted from many. This march had an impact on the American people like none other and even now the struggle for freedom, equality, and economic justice continues here and around the world as the words of Martin Luther King Jr. remain an inspiration to many.

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French Street Artist JR wheat pasted this vintage image in Atlanta to commemorate the 50th Anniversary of the March on Washington for Living Walls Atlanta 2013. (photo © Jaime Rojo)

 

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Rep. John Lewis was honored this month on the streets of Atlanta with this large mural by Sean Schwab for The Loss Prevention collective. Dedicated last Friday in the same community where Dr. King was raised, the mural depicts The Honorable Mr. Lewis for his work as a civil rights leader to end legalized racial discrimination and segregation. He was also the youngest speaker 50 years ago at the March On Washington. Mr. Lewis currently serves in The United States Congress representing Georgia’s 5th District since 1987. (photo © Jaime Rojo)

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The Loss Prevention. John Lewis. March On Washington. August 28, 1963. (photo @ Jaime Rojo)

Martin Luther King “I Have A Dream” Speech

Full Text:

“I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.

Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.

But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition.

In a sense we have come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness.

It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked “insufficient funds.” But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check — a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God’s children.


It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.

But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.

We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. They have come to realize that their freedom is inextricably bound to our freedom. We cannot walk alone.

As we walk, we must make the pledge that we shall always march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, “When will you be satisfied?” We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro’s basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating “For Whites Only”. We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.

I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.

Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: “We hold these truths to be self-evident: that all men are created equal.”

I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today.

I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream today.

I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.

This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.

This will be the day when all of God’s children will be able to sing with a new meaning, “My country, ’tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim’s pride, from every mountainside, let freedom ring.”

And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!

Let freedom ring from the snowcapped Rockies of Colorado!

Let freedom ring from the curvaceous slopes of California!

But not only that; let freedom ring from Stone Mountain of Georgia!

Let freedom ring from Lookout Mountain of Tennessee!

Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.

And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, “Free at last! free at last! thank God Almighty, we are free at last!”

 

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ATL on the HUFFPO with BSA

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INTI’s piece being admired by a bicycle tour for Atlanta Living Walls 2013 (photo © Jaime Rojo)

Here is a cross-post from our Atlanta Living Walls article on the Huffington Post last week that we wanted to share because we liked it and because a number of people have written to us to share their opinions and perspectives on some of the observations we made.

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The slow proliferation of Street Art festivals around the world has been notable in many ways, including in what people are not saying. So it was good to bring out the topic of whether this really is “Street Art” when created in these new contexts. Thanks to everyone who wrote, and we welcome the conversation.

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Axel Void for Atlanta Living Walls 2013 (photo © Jaime Rojo)

“Street art (or urban art) at its roots blossomed in the last couple of decades at least in part due to the illegal graffiti movement, avant-garde artists, intellectuals, political theorists, and critics of the so-called mainstream and much of the art making ethos that evolved from these calls for the autonomous selection of location, method and content. The idea of seeking approval is anathema to many a street artist, and meddling from the outside is nearly reproachable. Because no permission is usually sought, it is also accepted that the work itself is never guaranteed to have a long-running life and its meaning may be misunderstood, misinterpreted or altogether missed.

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Christopher Derek Bruno for Atlanta Living Walls 2013 (photo © Jaime Rojo)

“For most the Street Art practice is an outcropping of personal inspiration or appeal, an experiment in the street laboratory. It may be dissed by another artist or “buffed” (painted over) by someone the following day, but all of the other choices are on the artists’ terms alone. In our tours over the last week through Atlanta we saw plenty of this self-directed sort of stuff on abandoned gas stations and buildings or on semi-approved graffiti walls that are unofficially set aside for that form of expression; it just wasn’t part of the formal festival. To expect that an organized annual event in any community could hew to that method of art making is probably delusional. But these new murals are also probably not street art, for those concerned with labels.”

For the complete story on Huffington Post Arts & Culture, please click here. 20 New Murals From Atlanta Living Walls 2013

 

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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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Urban Forms in Lodz, Poland Ready To Go

ROA Inaugurates, INTI to Hit 11-Story Wall

Today we have a little reminder of the upcoming third edition of the Galeria Urban Forms Festival in Lodz, Poland, which will be really take off in the beginning of September. Already new work has begun from Etam Crew from Lodz with a mural on Politechniki Avenue inspired by Julian Tuwim’s poem “W aeroplanie” (“On the Airplane”). The second one in advance is by Gdansk artist M-City.

On the roster for this year is ROA from Belgium, who will inaugurate the festival shortly, and many are talking about the 11-floor skyscraper that INTI from Chile is going to paint, which will be the largest in Lodz and one of the largest in Europe. Below you can see the one INTI did last year entitled “Holy Warrior”. Also on tap is a 3D pavement painting by Ryszard Paprocki and other guests include 3TTMan – the Spaniard whose work you saw in BSA coverage of Atlanta last week along with INTI – and TONE, PROEMBRION, and CEKAS from Poland.

Urban Forms will have a variety of related events during the nearly month long festival that celebrate the existing 24 murals along with the new ones, including live music, a laser light show, bus and bicycle tours. BSA will be bringing you exclusive coverage of the new murals as they go up, so stop by to see brand new work by these artists over the next month.

 

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INTI (photo courtesy © Urban Forms)

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Os Gemeos . ARYZ (photo courtesy © Urban Forms)

http://www.galeriaurbanforms.org/

http://www.urbanforms.org/

www.facebook.com/urbanforms

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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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