Welcome to BSA’s Images of the Week. We decided to dedicate this weekly survey to the artists of “Return 2 Burn”, its organizers, and the streets that brought us here.
The new “Return 2 Burn” exhibition at the old train station in Hunts Point, Bronx, serves as a modern continuum of pivotal artistic moments from New York’s vibrant past, echoing the groundbreaking energies of the Fun Gallery, The Times Square Show, and initiatives by Collaborative Projects Inc. (Colab) and Fashion Moda. These seminal venues and events of the early 1980s, such as the Fun Gallery (1981-1985) and The Times Square Show of 1980, were instrumental in merging the diverse cultural and artistic energies of “uptown” and “downtown” scenes. They featured artists whose names would become prominent, like Jean-Michel Basquiat, Keith Haring, Futura, Rammelzee, Crash, Jenny Holzer, and many others whose work intertwined and intersected with the emergent graffiti and street art movements against a backdrop of punk, hip-hop, and an unprecedented cultural fusion that was happening across the city.
This week, the art world mourned the loss of Patti Astor, the trailblazing founder of the Fun Gallery and a pivotal character in Charlie Ahearn’s iconic film “Wild Style.” Her legacy, which has deeply influenced the intersection of hip-hop, graffiti, and urban culture, remains a testament to her visionary impact on New York City’s vibrant art scene.
“Return 2 Burn” builds upon this legacy by featuring contemporary and enduring artists from those earlier movements like Skeme, Tkid 170, Martha Cooper, John Fekner, and Al Diaz—who notably co-created SAMO tags and cryptic texts on the street with Basquiat—linking the historical narrative of New York’s street art from its inception to the present. These artists’ work stood alongside others such as Chris from Robots Will Kill, Indie, Buff Monster, UFO907, and Wane for the vibrant opening night, celebrating an ongoing narrative of experimentation and discovery in the street art/graffiti scene today across this city’s boroughs. The atmosphere was electric, charged with the energy of fans, collectors, storytellers, and historical figures of the graffiti and street art scene.
This collection of photos was shot while the exhibition was still being assembled—”work in process” shots. Their sometimes raw quality signals that the exhibition is a living entity produced by many hands; curator Robert Aloia says it is expected to evolve throughout the spring and summer.
The opening night crowd underscored the exhibition’s role as more than just a collection of artworks but also a gathering place for the community and a hopeful signpost for our collective creative future as we enter such uncertain times. It is a testament to the evolution of graffiti, street art, conceptual art, sculpture, public art, and muralism and their enduring significance in urban culture and public dialogue. The installed pieces—captured before the doors officially opened—are a diverse and dynamic reflection of the art movement, a snapshot of this moment at this location that recognizes the hundreds of artists whose work is on New York streets at any moment.
Through the visionary efforts of curators like Robert Aloia and Jennifer Giraldo of Outlaw Arts, and their collaboration with Majora Carter and James Carter of Bronxlandia, “Return 2 Burn” reminds us how exhibitions can serve as cultural synthesizers. The dedication of independent curators and organizers ensures that the legacy of New York’s unique art scene not only persists but also adapts and thrives, engaging new generations of artists and audiences alike. Moreover, the vital role of those who document, write about, and archive these events is crucial; without their work, such exhibitions’ rich history and transformative impact would not be preserved.
New York City has consistently nurtured subcultures by providing ample space, resources, and an environment conducive to growth—a spirit deeply embedded in the Punk D.I.Y. tradition. This creation of spaces for artists truly captures the essence of the city. And while we appear to be losing gallery spaces, we always have the streets. In New York City, D.I.Y. isn’t just a concept—it’s synonymous with NYC itself.
Skeme creating his latest for “Return 2 Burn”. Skeme, known as “Skeme the 3 Yard King,” is a prominent graffiti artist, celebrated within the graffiti community for his work in New York City during the movement’s early days. He was featured in the documentary “Style Wars,” a seminal film directed by Tony Silver and produced in collaboration with Henry Chalfant. The film is significant because it was one of the first documentaries to capture the graffiti subculture of New York City in the early 1980s.
The lineup includes: Aiko, Al Diaz, Austin Pinon, Basie Allen, BlusterOne, Buff Monster, Camella Ehlke, Cassandra Mayela, Chris RWK, Dr. Revolt, Faust, Ghost, Giz, Indie 184, JJ Veronis, John Fekner, Jon Burgerman, Judith Supine, Kade198, Lamour Supreme, Martha Cooper, Matt Siren, Modus, Peter Paid, Pork, Queen Andrea, Roycer, Saman & Sasan Oskouei, Sheryo & Yok, Skeme, Tkid, Totem, UF0907, VFR, and Wane One
As founding members of the Martha Cooper Library at the Urban Nation Museum in Berlin, Brooklyn Street Art (BSA) proudly showcases a monthly feature from the MCL collection, illuminating the extensive and diverse treasures we’re assembling for both researchers and enthusiasts of graffiti, street art, urban art, and its numerous offshoots. Below, we present one of our latest selections.
“City of Kings: A History of NYC Graffiti” is a crafted exploration of the graffiti scene’s historical roots in New York City. Born from a prominent exhibition co-curated by Al Diaz, Eric Felisbret, and Mariah Fox, this book transcends the role of a mere catalog to become a substantive text that presents a detailed overview of the graffiti movement in a structured, academic, and engaging manner.
It’s that time of the year again! Our 13th “Hot List” of books – a best-of collection that is highly personal and unscientific presents a sampling across the board for a variety of graffiti and street art fans.
Our interests and network continued to venture afield this year, and we offer a cross-section of books that are well worth your time – whether it’s the stories they tell, the rare glimpse inside a wiley mind, or the revelation of seeing images previously unseen except by a handful of people. We have political, personal, and professional takes on this beautiful street art scene, as well as a careful instruction book on how to make your own
So here is a short list from 2023 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.
Djerbahood 2: Open-Air Museum Of Street Art – Albin Mitchel Publishers – Galerie Itinerrance
From BSA:
The traditional architecture in the Medina Atiga may be what attracts you initially, but it is the 150 street artists who will keep you wandering through the maze of tiny streets. The outdoor curation of Djerba by Mehdi Ben Cheikh, a bi-national with a gallery in Paris, happened over the last decade among the sun-blasted domes, arches, and towers here.
“Djerba was exceptionally well placed for an operation with worldwide impact.” says the visionary Cheihk in the newly released Part 2 of Djerbahood, “On this, the southernmost island of the Mediterranean, the climate is pleasant and temperate for more than half the year.”
In this village of Erriadh on the Tunisian island of Djerba, you are twenty-five kilometers from the airport, adjacent to a long shoreline of fine white sand, and officially walking inside a UNESCO World Heritage site. It also helps that here you’ll find palm trees, olive trees, figs, pomegranate, carob, apple, and apricot trees, crystal clear water, and a fairly mild climate.
PORK: “I LEFT A NOTE”. Published by Blurring Books NYC
From BSA:
New York’s PORK is one of the few fire extinguisher writers who reliably has can-control, or nozzle control, as the case may be. If you know your extinguisher tags, these are examples of fine penmanship. Additionally, his necessarily brief cursive bon mots are cryptically funny, even if you don’t know his intention.
In this new softcover of street photography, many of his rattled-looking words are framed in their natural/unnatural environment and given their page, or spread. In the index, you may get an insight into what the artist was thinking by the title given to the corresponding pages in the body. You’ll also gain insight into the irreverence, sometimes tempered with exquisitely poised timing.
“CITY OF KINGS: A History Of New York City Graffiti” – Compiled by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
From BSA:
“Like a small team of ants dragging a slice of Wonderbread down the sidewalk to home base, we persevered,” writes OG New York graffiti writer and curator Al Diaz about the collaborative process that produced an exhibition and catalog this winter called “City of Kings: A History of NYC Graffiti.”
A wildly dispersed and organic scene like the one birthed by graffiti more than five decades ago has had thousands of authors, making it a daunting task to tell this story at times, says Diaz. To do so he made sure to work with two other curators who could complement his knowledge and abilities when researching and collecting proper history to illustrate this movement correctly.
Back on May 1st, 2023 Saman & Sasan released their new self-published book titled Object / Subject. In conjunction with the book they also released a Box set, their first, and included a collection of selected prints along with the book.
If you are familiar with their conceptual pieces and their powerful resonance – like Our House Is On Fire, for example, you will be excited at the prospect of having an opportunity to have this Box set in your collection. As a special commemoration of their most recent 8 years of work – that has re-defined their vision, their reputation as contemporary artists, and their ability to profoundly render verdicts on the human condition – the new book will also include an essay by author and art critic Carlo McCormick.
REVS, XSOUP & ARBOR. “Life’s a Mission…Then You’re Dead”
From BSA:
Today the writer expands his reach, compiling with XSOUP and ARBOR the stories of many graffiti writers into a bound volume that will become an instant classic in the largely anonymous and underground realm of practitioners as well as with the growing cadre of researchers, academics, and historians studying graffiti/street art/urban art today. With this new passion effort by REVS and a small team, these stories are preserved and documented, ensuring a greater understanding and appreciation for the interconnected/alienated paradox of the graffiti writer’s life and practice.
The Yok & Sheryo: Yeahnahnesia A Mystical Land Somewhere In The Indian Ocean. Vol 1. Published by Yok & Sheryo and The Art Gallery of Western Australia. 2566 AP / 2023.
From BSA:
In the realm where imagination dances with audacity, Yok & Sheryo, the dynamic duo hailing from the crossroads of New York, Australia, and Asia, have conjured up a whimsical masterpiece, aptly titled “Yeahnahnesia.” Published in collaboration with the Art Gallery Western Australia, this book is a memoir and fantasy of creativity and storytelling that makes a reader question the boundaries of reality and fiction.
Picture a tropical paradise, a place Google Maps forgot, where mythology, deities, philosophies, and unusual creatures roam freely. Yeahnahnesia, the brainchild of these intrepid artists, is a fictional island brimming with tales so rich that your skateboarding dreams will tip their hats in admiration. The burning questions of its existence and location will keep you up at night until you surrender to the allure of this enigmatic and chill place.
As you delve into the book’s 120 pages, you’ll be transported into an alternate dimension where art intertwines with narrative, and history plays a sly game of make-believe. The “Temple of Frivolous Wishes” at AGWA, Art Gallery Western Australia, Perth, is a mere glimpse of their artistic prowess. Bound in fabric with gold foil accents, this bound edition of 800 is a treasure.
Alan Ket: The Wide World of Graffiti. Monacelli Press / Phaidon. New York
From BSA:
Graffiti artists often dismiss histories or narratives not of their own making, including those from their peers. This subculture, which has continuously evolved across different cities, time zones, decades, and languages over the past 60 years, is so rich in stories and counterstories that it might take another 30 years for the aerosol to clear and reveal the origins of these tales comprehensively. One unwavering truth prevails: if you weren’t there, in the same city, during the same era, didn’t grow up immersed in that urban environment, and weren’t marking the same train lines or recognized by local crews, your credibility is questioned, and the original graffiti artists (OGs) might disregard your story.
It’s meaningful when a book like “The Wide World of Graffiti” is authored by someone like Alan Ket, a native New Yorker from Williamsburg, Brooklyn, who has firsthand experience writing on city trains. As a self-proclaimed graffiti nerd, historian of the movement, and co-founder of the Miami-based Museum of Graffiti, Ket brings a unique blend of metaphorical depth and frank authenticity to his writing. He skillfully combines scholarly insight and sociological context in his narrative, spotlighting selected kings and queens of the streets to further illustrate in their words details of the scene’s evolution and his informed insights to provide context.
MANA PUBLIC ARTS: MURALS BY LEADING STREET ARTISTS FROM AROUND THE WORLD. Itasca Books / Mana Public Arts
From BSA:
Mana Public Arts (MPA), a privately-funded real estate program supporting public art, announces the launch of a new book this Saturday at the Museum of Graffiti. The book captures the diversity and vibrancy of street murals by internationally acclaimed artists in two U.S. cities where MPA operates – Miami and Jersey City, New Jersey. Spanning over 300 pages, the book showcases a range of graffiti, street art, and mural works supported and presented by MPA over the past decade, reflecting their dedication to enhancing communities through public art.
Essays from four notable figures in the street art and graffiti world provide a deeper understanding of the evolution and changing nature of the graffiti/street art/mural art scenes in Miami and Jersey City, as well as context and educational insight into the program. Contributors include cultural critic Carlo McCormick, Brooklyn Street Art’s Steven P. Harrington, Museum of Graffiti’s Alan Ket, and UP Magazine’s T.K. Mills.
Martin Whatson, a Norwegian stencil artist born in 1984, has carved out a distinctive niche in the contemporary and street art worlds. His journey from street art to international acclaim is a narrative of artistic evolution and the versatility of visual language. This book, written by art dealer and curator Eva Marie Bentsen, offers a comprehensive look at Whatson’s career, from his early experiments in graffiti to his current status as a celebrated fine artist. His education at the Westerdals School of Communication in Oslo laid the groundwork for a unique blend of graphic design and urban art, defining his approach to art-making.
The initial sections of the book explore Whatson’s early period, where his engagement with graffiti and stencil art began to shape his artistic voice. These early works reveal a developing style, marked by influences from notable artists like DOLK and Banksy. During this time, Whatson started to refine his distinct blend of political themes and aesthetic appeal. His participation in the Nuart Festival, championed by Stavanger art dealer and street art festival curator Martyn Reed, undoubtedly played a crucial role in bringing his work to a broader audience.
“CITY OF KINGS: A History of New York City Graffiti”. Compiled by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
“Like a small team of ants dragging a slice of Wonderbread down the sidewalk to home base, we persevered,” writes OG New York graffiti writer and curator Al Diaz about the collaborative process that produced an exhibition and catalog this winter called “City of Kings: A History of NYC Graffiti.”
A wildly dispersed and organic scene like the one birthed by graffiti over more than five decades ago has had thousands of authors, making it a daunting task to tell this story at times, says Diaz. To do so he made sure to work with two other curators who could complement his own knowledge and abilities when researching and collecting proper history to illustrate this movement correctly.
“CITY OF KINGS: A History of New York City Graffiti”. Curated by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
A compact, attractive, and dense show at Howl! Gallery in Manhattan’s Lower East Side, the timeline colorfully climbs around three of the space’s four walls. It presents a cogent, multifaceted historical record of the secretive yet public graffiti culture thanks to Diaz and co-curators Eric Felisbret and Mariah Fox.
Felisbret, also known as DEAL CIA was a member of the graffiti crew “CIA” (which stood for “Crazy Inside Artists”) during the 1970s, and he co-authored the book “Graffiti New York” in 2009. He also founded the website “149th Street” in 1997 to document the history of graffiti in New York City – over the years featuring a vast archive of graffiti photos and interviews with graffiti writers, as well as articles and essays on the history and culture of graffiti.
“CITY OF KINGS: A History of New York City Graffiti”. Compiled by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
Mariah Fox is an educator, graphic designer, illustrator, and curator who has played a vital role in elucidating the graffiti landscape through her scholarship and love for the scene that formed the practices of pioneers like Diaz and Felisbret. In addition to her expert execution of a design theme and vernacular that supported the history but did not overwhelm the show and the book, Diaz says that Fox kept the project on track for its ultimate success.
“CITY OF KINGS: A History of New York City Graffiti”. Compiled by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
Working within the larger community, the three pulled off a comprehensive, educational exhibition and program that included essays by the three and Chris Pape (Freedom), as well as panel discussions with graffiti historians, documentarians, and graffiti writers who were there during the formative chapters New York’s history on trains and walls.
In the beginning, and in the end, it’s all about the writers, say the curators.
“What makes this exhibit different from others,” says Diaz in an essay from the catalog, “is that the chronological narrative is told through the lens, and voice of the actual players who created graffiti, not observers, gallerists, art historians, collectors or academics. New York City graffiti artists have historically been underrepresented and our narrative has been misinterpreted or skewed. An accessible, concise, clear account for the general public is long overdue.”
“I couldn’t tell the story,” said Terror 161 at the exhibition’s opening, “because you know what? It’s everybody’s story. Like, somebody’s truth is my fiction.” The writer, author, and historian hosted two of the panels – one with first-generation New York City writers Wicked Gary, Coco 144, Mike 171, Ree 2, and Jester, and the other with famed photographer and documentarian Martha Cooper.
Looking over the timeline, it’s clear that this is a commonly held sentiment.
“The exact moment and origin of graffiti as we know it today is complex and heavily disputed,” say the curators in opening Part 1: Genesis, The Wall Era. “The narrators of this story pay credence to their unique New York City socio-cultural landscape as a spawning ground.”
“CITY OF KINGS: A History of New York City Graffiti”. Curated by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
But differences of opinion characterize the entire scene in the telling and the retelling, perhaps giving additional meaning and context to ‘Beef’, a primary feature of the history. For example, the music commonly associated with graffiti culture is Hip-Hop – it is even a forgone conclusion by many. Not so, say some of the pioneer graffiti writers who refer to hard rock as being more influential in their aerosol history.
Terror 161 says graffiti doesn’t need to be paired with either music genre. “I don’t connect music to it at all,” he says. “I say it’s a standalone visual art form that needs nothing attached to it. Dudes listened to what they listened to.”
“CITY OF KINGS: A History of New York City Graffiti”. Compiled by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
The chapters of “City of Kings” are loosely gathered according to significant developments in the evolution of the graffiti scene, its practices, and players – all set across a backdrop of benchmarks in the social, economic, and popular aspects of local and worldwide news.
Chapter 1: Genesis (1967-1971) The Wall Era
Chapter 2: Foundation (1971-1973) The Code Forms
Chapter 3: Peak (1973-1976) Refined Tenets
Chapter 4: Revival (1977-1981) Revival
Chapter 5: Buffed (1981-1985) Survival of the Fittest
Chapter 6: Reset (1986-1989) The Die Hards
Chapter 7: Eternal (1989-Present) The Fields Blur
The latter chapter is a catch-all that attempts to contemplate the reverberations of the original scene, which many, including Pape in his essay, say “met its demise” in 1989. Graffiti continued to adopt, adapt, and mutate as it was absorbed into popular culture, adopted by advertisers, and endlessly coupled with the dreams of artists and creatives of all stripes worldwide. Blur is an apt descriptor.
“CITY OF KINGS: A History of New York City Graffiti”. Curated by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
In their brief tutorial named, “Code of Respect” Felisbret and Diaz describe foundational guidelines for writers as a guide, such as “Respect the Name,” “Don’t Bite,” and “Racking Up.” Lest you think there are no rules in graffiti, in the final section called “Following the Code, they offer the proviso, “this attitude always ends in conflict.”
“It’s comprehensive; it’s like a lesson plan,” says Diaz of the show, particularly the illustrated catalog accompanying it. It serves as an excellent primer, vetted and written by the people who were there.
“CITY OF KINGS: A History of New York City Graffiti”. Curated by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery.
“As an educator, I love covering new topics but it is often difficult to create sound lesson plans from scratch when teaching innovative new courses. The materials exist in various formats, but always need to be organized in a digestible way,” says Fox in her “Note to Educators.”
“This exhibition and accompanying catalog may serve as coursework for a range of all-age students. The content was curated with an inclusive, accessible intent, though this was often challenging to achieve. The time constraints upon us limited our abilities, so this isn’t a perfect package.”
As institutions and researchers continue to build their knowledge about the global democratic people’s art movement spawned by graffiti, “City of Kings” ensures that many of us will have a textbook that helps form the foundation in this ongoing education.
Names of writers and artists who have passed, from “CITY OF KINGS: A History of New York City Graffiti”. Compiled by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery. “CITY OF KINGS: A History of New York City Graffiti”. Curated by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery. “CITY OF KINGS: A History of New York City Graffiti”. Curated by Al Diaz/ Eric Felisbret / Mariah Fox. HOWL! Gallery. Co-curator Al Diaz speaks to a guest while photographer Martha Cooper and co-curator Eric Felisbret look on at “CITY OF KINGS: A History of New York City Graffiti” at Howl! Gallery. Not pictured is co-curator Mariah Fox.
We’ve been supporting the work of the New York organization Art In Odd Places (AiOP) for years and are always intrigued and inspired by their productions and the artists they select to offer their proposals. Mounted outdoors along and below 14th Street in Manhattan, we’ve seen works by performing artists, painters, sculptors, conceptual artists, dancers, and a myriad of artists who defy categorization and refused to be boxed in. This is what makes this a unique art event in the city; its ability to be inclusive, fearless, and unconventional. We look forward to being surprised once again this year.
Art in Odd Places (AiOP) 2022 will be present with the theme of “Story” this September and curated by Atlanta artist Jessica Elaine Blinkhorn, who asks “Will the story of your existence endure the test of time?”
Today, public personal merit is based on the number of followers on social media – and relevance changes with the shifting weather. True identity and community are where words are genuinely heard, truths shared, stories told, and perceptions possibly changed.”
AiOP 2022: STORY seeks imaginative proposals by artists from the Disabled, BIPOC, LGBTQ+, and Allied communities that tell her, his, their “Story”
It may be a challenge to identify the through-line when it comes to curation of artworks at an auction house exhibition. Selections are predicated on the availability of artworks at the moment and the exigencies of the market. And 30 additional variables.
You will however see a warm confirmation of greater themes in the new exhibition at Phillips auction house that opened last week entitled 1970s / Graffiti / Today, and you’ll leave enriched by the experience. With the works of 30 or so artists on display for approximately a month, it is not intended to be a comprehensive survey, yet it manages to spread a wide net over a number of scenes, practices, and personalities working on US streets during the previous five decades.
There is a vastness to this scene, its people, its practices, its histories, its quality variations. As evidenced by a show like this, there is now a general acceptance of the street-born form of visual expression called graffiti, its various hybrids expressed broadly as street art, and the onward march of certain forms of both toward acceptance as contemporary art. As suggested by the title, you’ll probably see a good representation of each here, and one or two will strike you as quite impressive.
Curator Arnold Lehman is a recognized champion of that march forward, most notably for when he shepherded the “Graffiti” exhibition as Director of the Brooklyn Museum in 2006. That show, one of the first museum shows dedicated to the movement, featured 20 large-scale canvasses by graffiti artists that were donated by the estate of famous mid-century New York gallerist Sidney Janis, who had shown a number of them in the early 1980s.
A native New Yorker, Lehman grew up with graffiti on the trains and easily recognized the contributions it was making to his city and the culture. When he had an opportunity to introduce the works as an exhibition, he says he faced much opposition, despite the fact that it came from the collection of a gallery owner who was celebrated for introducing most of the emerging leaders of abstract expressionism, the Fauves, the Futurists – and later the proponents of Pop.
“He began showing graffiti in his gallery in 1981 or 1982,” Lehman says of Janis when speaking of the canvasses he organized in the Graffiti show at the Brooklyn Museum. “A number of my colleagues were quick to write and say, ‘Have you lost your mind?’ “
Five of those same canvasses provide an anchor in the timeline here, supported with early photos and light ephemeral documentation of the burgeoning graffiti scene on subway trains and elsewhere in New York. This city and its streets and culture figure prominently into this collection of about 150 pieces, with Mr. Lehman estimating for us during a recent tour that the mostly US-focused show is divided into two-thirds New York and one-third Los Angeles.
“The artists we are showing really deserve a presentation like this,” he says as we walk through an exhibition of individual expressions that are as varied as the kind of people who’ll typically ride a subway car; drawings from sketchbooks (Al Diaz), stenciled canvas (Chaz Bjorquez), photographs (Martha Cooper, Gusmano Cesariti, Steve Grody, Cheryl Dunn), elaborate “wood paintings” on welded steel sculpture (Faile), canvasses by early generation graffiti pioneers (Fab 5 Freddy, NOC, Daze, Lady Pink, Toxic, Haze), repurposed metal subway signs (Julius “T. Kid” Cavero), a slickly painted motorcycle (Crash), mixed media collage (Augustine Kofie) a refurbished ice cream truck (Mr. Cartoon), a repurposed bus stop poster (KAWS), an acrylic painting on scrap metal (Margaret Kilgallen), a mounted neon sculpture (Risk), paper cutouts pasted on found wooden doors (Swoon) and a heavily tagged Fun Gallery refrigerator hit up in the early 1980s by people like Basquiat, Haring, and Futura.
The newly completed Phillips gallery is ironically and literally underground. Its thousands of square feet lie just below the Park Avenue street level, lending a hidden secretive quality to it. Nevertheless, the massive venue sports triple-height ceilings and a vast marble spaciousness that allows for mounting and lighting a variety of gallery sizes, shapes, and volumes. It’s also free.
One piece caught our eye and the eye of our companion, the photographer Martha Cooper, whose photos of 1970s-80s graffiti on subway trains places her squarely at the center of the scene. It’s the large fabric canvas/backdrop that commands one of the walls in the gallery – not only for its dynamism of placed elements and handstyle-vibrance but because of the history of the piece and the cross-section of writers and performers who intersect on it. Attributed to Futura 2000, it also contains work by Dondi and a tag by Phase2, at least. It also pays tribute to the musician and performer Afrika Bambaataa, the Rock Steady Crew, a number of possibly British graffiti writers and crews.
When posted on social media by people like Futura and Ms. Cooper this week, discussion of this piece lit up like a fire – with people surmising different venues where it may have been displayed, arguing about the propriety of selling such an item, conjecturing about who owns it, and spotting it in the background of photographs by Janette Beckman and David Corio.
Mr. Corio allows us to show his images here of that event, which he identified as being part of the London stop of the NY City Rap tour, November 23rd, 1982. Assessing photos and the relic itself, one surmises that it was not signed by all the persons named necessarily since its function was a marquee naming of participants of the tour as well as a vehicle of visuals.
Corio later posted images from the event on his Instagram with his current recounting, but we like this older one from his website, as it is lyrical.
“Welcome to the future. This was one of the first hip-hop shows in London and it was at my favourite place to shoot gigs. Bam had brought with him vibrant visions of the New York street in the form of graffiti legends Fab Five Freddy and Futura 2000. While he played, they spray-painted the backdrop. Londoners had never experienced any gig like this before – with break-dancers from Bambaataa’s Zulu Nation and a team of skippers doing the double-dutch. ‘Planet Rock’ and ‘Looking For The Perfect Beat’, two singles of 1982, along with Grandmaster Flash’s ‘The Message’, gave notice of a new musical force breaking out of New York – hip-hop and electro – and it was all rising straight off the record decks. It was amazing to witness this revolution in person.”
As you stand before the piece, you may better appreciate the human scale of some events that have stepped into a golden storied past. Without these antecedents, many would not have known the art, music, and dance world as it evolved – nor appreciate the components that Hip Hop grew and evolved from. Looking at this unnamed banner, you remember again that once in a while a piece of art transcends itself, and becomes a historical document.
1970s / Graffiti / Today is an opportunity for fans and historians to see some of these works before they disappear into private collections. That alone is worth the trip.
1970s / Graffiti / Today at Phillips Auction House in Manhattan, NY is open to the public until February 20, 2022.
Our sincere thanks to photographer Martha Cooper for contributing her photos to this article. Her Instagram is @marthacoopergram
Thank you as well to the photographer David Corio for allowing us to use his historical photos here. To learn more about him and his work please go to www.davidcorio.com and his Instagram is @david.corio
For all the flooding of our street art consciousness by the mural movement during the last handful of years, we’re still impressed by the completely organic personality of New York’s scene. New York has the ability to absorb countless graffiti and street artists from around the world and still retain its own particular attitude regardless. Prickly, preening, pensive, or ready to throw a punch, you are never quite sure what you will end up with the art on the streets here. However, you are guaranteed to see something unique — and you’ll never have time to be bored.
Here’s our weekly interview with the street, this week featuring Al Diaz, Alex Ferror, ATOMS, Billy Barnacles, Brooklsey Dark, Carlitos Skills, Don Rimx, Drecks, Duel1, Gane, Hiss, Jowl, Little Ricky, London Kaye, Lucky Rabbit, Praxis VGZ, Skewville, Smells, and UFO907 .
This week we wandered off the streets onto the train tracks to catch some graff in the wild. As we did we thought about photographer Jim Prigoff and how he told us that he relied upon the “graffiti gods” to lead him in the right direction to catch photographs. He was so right when he shared that jewel – an adviso to follow one’s intuition and trust your instincts. It was during this same adventure on the tracks that we learned of Jim’s passing, which was a very sad addendum to the exploration, at first. Then we realized that Jim is now one of those “graffiti gods” and he will lead us to find the next piece, burner, paste-up, sticker, poetry on the street.
May Jim and his instincts always be with us.
“You only live once, but if you do it right, once is enough.”
– Mae West
Take it from Brooklyn’s own Mae West to give us the dry-eyed wit that pushes us further forward, boldly and without reservation.
So New York graffiti and street art continues to run apace – from Red Hook to Ridgewood to Williamsburg to Chelsea in Manhattan – we are dumb-founded by the new work that is covering Gotham. It is also notable the preponderance of LETTER-based street art and graffiti there is everywhere. Letters and their deconstruction, reconstruction, re-imagining have always been a part of the graff tradition of course, but it looks like many artists are talking at you from the wall right now.
So here’s our weekly interview with the street, this time featuring: 2 Much, Adam Fujita, Al Diaz, Aneko, Healer, Jeff Roseking, Jet, Jowl, Lunge Box, Mega, Panic, RAKN, Riisa Boogie, Sac Six, Seo, Timmy Ache, UFO 907, and Wokem.
Welcome to BSA Images of the Week. 新年快乐! Happy Lunar New Year! It’s the Year of the Ox, and there was a lot of celebration during this snowy week in New York, although it appeared to be subdued by the standards of pre-Covid times definitely.
Also, Happy Valentines Day to you! We love you more every day! Don’t change a thing; you’re perfect the way you are.
Finally, the 2nd Impeachment of Donald Trump took place this week and it was on every television, radio, laptop, and phone screen it seems.
“Anyone who can make you believe absurdities can make you commit atrocities” is the quote attributed to Voltaire that the Democrat from Maryland Jamie Raskin spoke this week at the 2nd Impeachment trial of the former president in the Senate. It ranks as one of the more memorable.
It would be a stretch to call it a trial when many who voted in this verdict were also witnesses, victims, judges, jury, and/or co-conspirators of the accused. Still, it appears to be the only available way to hold a president accountable for their actions in the U.S.
We would say that it was a good show, but it was not a good show…
Finally, he has been acquitted by a vote of 57 to 43 in the Senate. A two-thirds majority was needed. One outcome is he can run for office again if he wishes. No matter the result of these events, it was inevitable that there would be a pervasive feeling of unrest.
One question remains: Was the January 6, 2021 attack on the Capitol the end of an era or the beginning?
Here’s our weekly interview with the streets, this week featuring 7 Line Arts Studio, Al Diaz, Awol Erizcu, BK Foxx, Clown Soldier, Fire Flower, Goog, Pear, Queen Andrea, Riley Gale, SAMO, and Seung Jin.
Now that corporate and global debt has surged to an all-time high, posing unprecedented risk to the value of all money, it’s a sweet and sour nostalgia that drives you into your purse or wallet to pluck out a thin colorful slice of that rumpled paper fiat currency to buy yourself a beer at your local pub.
Bitcoin may be coming, and plastic is fantastic but in some parts of the world, cash is still king. And it rules everything around you.
Icy & Sot. Last Supper Five Dollar Bill (photo courtesy of the curators)
Right now you can see a collection of these banknotes from around the world developed as a series of canvasses at London’s Saatchi Gallery – mutated and defaced and adorned by graffiti and Street Artists, along with a series by Iranian born Aida Wilde, who uses banknotes from Eritrea, Iraq, Somalia, Sudan, and Syria.
Penny. Picasso Ten Pound Note (photo courtesy of the curators)
Cash is King II, a sequel to last years Cash is King – the brainchild book and exhibition of artists Robert Osborne and Carrie Reichardt, the show opened this week to an appreciative crowd who appeared to really enjoy seeing bills reimagined.
Jef Aerosol. Arts Can’t Buy Me Love (photo courtesy of the curators)
Curators Susan Hansen and Olly Walker share these images here with us and tell us they’re also happy that Ms. Wilde’s sales are going to benefit the Help Refugees organization so they are able to continue their work around the world. Not surprisingly perhaps, “Many of these banknotes represent some of the countries that have seen the highest numbers of people become refugees in recent years,” says Hansen.
Olly Walker. Process shot. (photo courtesy of the curators)Aida Wilde. And We Walk Eritrean. Process shot. (photo courtesy of the curators)Al Diaz. Samo Dollar (photo courtesy of the curators)1 UP Crew. Tag Dollar (photo courtesy of the curators)Anthony Lister. Zero To One Hundred Real Quick Dollar (photo courtesy of the curators)Bortusk Leer. Art Is Not Serious (photo courtesy of the curators)Caroline Caldwell. Oil Money Dollar (photo courtesy of the curators)John Fekner. Greed Dollar (photo courtesy of the curators)Cash Is King 2: Money Talks. Opening night. (photo courtesy of the curators)
Aida Wilde’s work will available for sale on the Saatchi website from 2pm on Tuesday the 20th of August. All proceeds will go to support Help Refugees’ work around the world.
Cash is King II: Money Talks features works of art executed on banknotes, an exhibition curated by Olly Walker of Ollystudio.
Cash Is King 2: Money Talks is currently on view at the Saatchi Gallery in London installed in the Prints and Originals space until September 8th. Otherwise, click HERE to view and purchase available works of art.
Hammering the display walls, sanding off the plaster bumps, the whirring and popping of construction drills: Two assistants are helping 1970s NYC subway writer Lee Quinones lay out a #2 train-car-length canvas on the floor while you are distracted by the Empire State building puncturing the Manhattan cityscape across the East River, a sweeping vista through the glass walls of this new high-rise in Williamsburg.
Nearby Cornbread’s notebook hangs next to his signature, a potent visual reverberation across five decades from graffiti’s Philly roots.
Elsewhere there are the sounds of woodsaws and metal clanging accompany the one-line drawings of freight-writer buZ blurr as historian Bill Daniel is completing his comprehensive mini-exhibition within this massive exhibition. With trains and photos and modern relics of American rail lore on display, this crucial antecedent of modern-day aerosol “writing” emerges and blows its chimes as well. This is a particular slice of the graffiti story that Mr. Daniel may describe, as he does in The Secret History of Hobo Graffiti, as “the dogged pursuit of the impossibly convoluted story of the heretofore untold history of the century-old folkloric practice of hobo and railworker graffiti.”
It’s an apt descriptor for Beyond The Streets as well. This multi-artist graffiti/Street Art-influenced exhibition directed by the discerning shepherd and seer Roger Gastman that is now mounting over two floors and 100,000 square feet in North Brooklyn tackles an endlessly convoluted evolutionary path. He says the size and composition of the exhibition has slightly changed since its first mounting last year in Los Angeles, and he is acutely aware that its location is in the city that claims a huge part of the graffiti genesis story, carrying perhaps a steep level of expectations.
Not that he has reason to worry: there are more hits here than a blowout at Yankee Stadium.
Like the blast of colors and pieces at a sunny Saturday afternoon Meeting of Styles jam, this show of many writers, photographers, documenters, collectors, painters, vandals, and attitudes won’t disappoint. You can see and construct your own version of a celebratory story that illustrates and reveals surprising ways that the street subculture has left its mark indelibly on the mainstream, yet often stayed separate.
From the Beastie Boys wigs worn in the “Sabotage” music video to the camera Joe Conzo used to shoot the Cold Crush Brothers, to the MDF and cardboard pay phone by pop sculptor Bill Barminski, and Dash Snow’s hi-low societal slumming photographs depicting sex, drugs, rhyming and stealing, visitors easily will have a flood of images and histories to author their own convoluted version of the graffiti and Street Art tale.
Gastman’s Massive Graffiti and Street Art Show Arrives at Epicenter.
“I’m really excited to bring this show to New York,” says curator, graffiti historian and urban anthropologist Roger Gastman, “because the city plays such a pivotal role in the origin and evolution of the culture. The iconic images of covered subway cars made graffiti famous worldwide.”
He’s talking of course about “Beyond The Streets” the hybrid exhibition that he mounted in LA last year featuring the work of 150 who have proved to be pivotal to the evolution of a fifty year global people’s art movement that includes graffiti, street art, and urban contemporary art. Filling over 100,000 square feet of new space in Brooklyn, this two-floor cross-section survey will feature artworks by many of the same vandals, graffiti writers, Street Artists, and art activists who hit NYC streets, created dialogue with passersby, and were sometimes chased by the authorities. To see them showcased here is to recognize that there is not just one route to take – in fact there are many.
“We have an incredible roster of artists for New York,” Gastman tells us, “and a brand new space in Williamsburg that has a stunning view of the Manhattan skyline as our backdrop.” Notably the lineup includes artists whose work BSA has documented on the streets in this very same neighborhood over the past two decades, including Shepard Fairey, Faile, Swoon, Bast, Invader, Aiko, and others. Ironically the appearance of free-range Street Art in the neighborhood has been seriously diminished since that time.
The exhibition is one more verification that a significant portion of the scene is being widely recognized for its cultural contribution and value in the contemporary art canon – a significantly fluid scene fueled by discontent and a desire to short-circuit the established routes to audience appreciation. Like large survey shows elsewhere, the takeaway is the significant impact street culture and its tangential subcultures continues to have on the culture at large.
Gastman says the New York version of “Beyond The Streets” will take an
additional interest at the role of music and art activism on the street, along
with immersive installations, a tattoo parlor, a special Beastie Boys
installation with artifacts and ephemera, a new 30th Anniversary
Shepard Fairey project “Facing The Giant: 3 Decades of Dissent,” and large
scale works by Gorilla Girls, Futura, Cleon Peterson, and Takashi
Murakami.
More news coming on programming and events, but the important opening date to know right now is June 21st.
“All in all, it will make for a really special show this Summer,” says Gastman.
BEYOND THE STREETS TEAM
Curator: Roger Gastman
Co-Curators: Sacha Jenkins SHR, Evan Pricco, David CHINO Villorente
A-ONE, AIKO, Al Diaz, Alexis Ross, Alicia McCarthy, André Saraiva, Barry McGee, BAST, Beastie Boys, Bert Krak, Bill Barminski, Bill Daniel, BLADE, Broken Fingaz, Buddy Esquire, buZ blurr, Carlos Mare, Carl Weston, Cey Adams, C.R. Stecyk III, Charlie Ahearn, Chaz Bojórquez, Claudia Gold, Cleon Peterson, COCO 144, Conor Harrington, Corita Kent, Craig Costello, CRASH, DABSMYLA, Dan Witz, Dash Snow, DAZE, DEFER, Dennis Hopper, Dondi White, Doze Green, EARSNOT, Estevan Oriol, Fab 5 Freddy, FAILE, Faith XLVII, Felipe Pantone, FREEDOM, FUTURA 2000, Gajin Fujita, Glen E. Friedman, Gordon Matta-Clark, Guerrilla Girls, HAZE, Henry Chalfant, Herb Migdoll, Husk Mit Navn, INVADER, Jane Dickson, Jason REVOK, Jean-Michel Basquiat, Jenny Holzer, Jim Prigoff, John Ahearn, John Fekner, John Tsombikos, Joe Conzo, José Parlá, KATS, KC Ortiz, Keith Haring, Kenny Scharf, Kilroy Was Here, LADY PINK, LAZAR, LEE Quiñones, Lisa Kahane, MADSAKI, Maripol, Mark Gonzales, Mark Mothersbaugh, Martha Cooper, Matt Weber, Maya Hayuk, Michael Lawrence, MIKE 171, MISS 17, Mister CARTOON, Nina Chanel Abney, NOC 167, Pat Riot, Patrick Martinez, Paul Insect, POSE, PRAY, Rammellzee, Randall Harrington, RETNA, Richard Colman, Richard Hambleton, RIME, RISK, Ron English, Ruby Neri, SABER, Sam Friedman, SANESMITH, Sayre Gomez, Shepard Fairey, SJK 171, SLICK, SNAKE 1, SNIPE1, STAY HIGH 149, Stephen Powers, SWOON, Takashi Murakami, TAKI 183, TATS CRU, TENGAone, Tim Conlon, Timothy Curtis, Todd James, Trash Records, UGA, VHILS, and ZESER
The show is developed in partnership with Adidas and Perrier. Additional support provided by Modernica, Montana Colors, NPR, NTWRK, Twenty Five Kent and WNYC.
Reprinted from the original review. The catalogue Writing the Future: Basquiat and the Hip-Hop Generation, accompanying the Museum of Fine …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
