The Museum of Graffiti, the world’s first museum dedicated to graffiti art, will open “All Black Everything,” the first exclusively African American graffiti exhibition. The exhibition aims to highlight and honor the legacy of these artists, especially considering their foundational role in the genesis of the art form and their inspiration for countless artists in both the streets and gallery spaces and their enduring influence even today.
Celebrating the art and contributions of multi-generational graffiti artists from the African diaspora, the museum will mark the occasion with a panel discussion featuring renowned artists such as Richard “Bama” Admiral, a pioneer in the graffiti movement. The exhibition will showcase the work of acclaimed African American artists, including Bama, Blade, Daze, Delta2, Dondi White, Esteme, Ewok, Kool Koor, Noc167, Quik (Lin Felton), Skeme, Sneke, VFR, and Wane One. In addition, vintage sketchbooks and ephemera will provide a glimpse into the early artistry of the influential Web One. The exhibit will feature original graffiti paintings on canvas and works on paper spanning the past 40 years.
Allison Freidin, the co-founder of the Museum of Graffiti, explains the significance of these artists’ work within the context of their surroundings: “In the 1970s, the Bronx was burning due to economic turmoil and crime. It is no wonder that the imaginations of the African American artists living in these neighborhoods propelled them beyond their surroundings into a world of fantasy and hope. This is what you will see in the paintings by Kool Koor, Bama, and Delta2.”
Alan Ket, the curator and co-founder of the Museum of Graffiti, emphasizes the cultural impact of graffiti within the larger hip hop movement: “Many people around the world are celebrating the 50th anniversary of Hip Hop by placing an exclusive emphasis on the music. However, hip hop is a movement with great cultural contributors across many creative disciplines, including graffiti. From Bama in the North Bronx, who participated in the first graffiti exhibition in 1973, to Harlem’s cultural icon Skeme, to Wane One, who has been traveling the world for the past 30 years teaching his unique lettering style, their genius deserves recognition now more than ever.”
Join the Museum of Graffiti on June 16 at 7pm for the release party for their very first book, The Wide World of Graffiti, with over 400 pages of essays, never-before-seen photos, interviews, and more! The author and Museum co-Founder will be signing copies all evening long.
Click HERE for more details about the exhibition and the book launch.
Welcome to the first American celebration of graffiti studies.
The Tag Conference Brooklyn is set to be an impressive event, bringing together some of the most influential and pioneering voices in the field of graffiti studies. This groundbreaking event will take place on May 14th, 2023, in the heart of New York City. The conference focuses on the art of name-writing in public spaces and how it has evolved over time, with a particular emphasis on the history of American tagging.
The list of participants is impressive, including renowned scholars and storied professionals like Richard Goldstein, Joe Austin, Susan Phillips, and Carlo McCormick, as well as prominent graffiti artists with deep roots such as Steve ‘ESPO’ Powers, Alan Ket and Mr. Kaves. Events like this raise the consciousness and further establish the role of the mark-makers in shaping activism and influencing art – with positive and negative effects both fairly examined and interrogated. The conference also showcases the work of independent researchers and rogue archivists, providing a platform for their invaluable contributions to the field of graffiti studies.
As graffiti continues to gain importance in both scholarship and institutional academia, the Tag Conference Brooklyn is a rather enthralling opportunity to explore this unsung art form and its impact on contemporary culture. With its focus on the history and evolution of tagging in New York City, this conference promises to be a landmark event, bringing together key voices from around the world for the first time in the United States.
The Tag Conference Brooklyn is an invitation-only installment of the Tag Conference with a focus on contemporary tagging.
THE TAG CONFERENCE BROOKLYN
NAME WRITING IN PUBLIC SPACE
14 MAY 2023 NEW YORK CITY
RICHARD GOLDSTEIN, JOE AUSTIN, BILL DANIEL, CARLO MCCORMICK, SUSAN PHILLIPS, STEVE ‘ESPO’ POWERS, GREGORY SNYDER, FRANÇOIS CHASTANET, CHRISTIAN ACKER, ALAN KET, LACHLAN MACDOWALL, MR. KAVES, TOMMY REBEL, JAVIER ABARCA, EDWARD BIRZIN
“Where does American tagging come from, and how has it evolved? What special chapters in its history took place in New York City? How does tagging play with space, and how do artists play with tags?
The Tag Conference Brooklyn gathers an unprecedented lineup of speakers, including some of the key voices in American graffiti studies both underground and institutional, plus some special guests from Europe and Australia to discuss the unsung artform of tagging in the city that made it what it is today.”
‘THE TAG CONFERENCE BROOKLYN’
While the working field of graffiti studies is taking shape in Europe, its most veteran and fundamental voices hail from the U.S.A.
Industry City 33 35th St, Building 5 Brooklyn, New York No entry fee
Directors: Edward Birzin (US), Javier Abarca (ES). Chair: Susan Hansen (AU).
The Tag Conference is produced by the Unlock Book Fair team. The Tag Conference Brooklyn is an INVITATION-ONLY installment of the Tag Conference.
A full-format Tag Conference with an open call for papers is scheduled for June 29th to July 1st 2023 at the Museum for Hamburg History in Hamburg, Germany.
It’s a brave and intricate undertaking, receiving someone’s painted canvas into your studio and then determining how you will alter it by painting over someone else’s work. Graffiti writers spend years developing and perfecting their ability to handle letters with a can, to coin their individual style. Partly in recognition of this, other writers avoid going over your work on the street, unless it is done with the intention to provoke.
Each partner in the Versus 3 Project, which we tie up today with some photos we didn’t publish previously, knows that the rules of the street are intentionally, and functionally broken here. The artists tell us it is uncomfortable even when permission is given. The root of collaboration in the project required passing the canvas back and forth between artists in a silent conversation, with no rules about style or materials – and the results can not be predicted accurately.
Patrick Hartl and Christian Hundertmark, as a duo called Layer Cake, repeatedly related stories last week of opening the newly arrived package, unwrapping the painted canvas, and staring intently at it.
“I think we don’t really have expectations, right?” says Hundertmark of the process.
“We know the work from the artists,” says Hartl, “so we probably know what they are about to do. In the end, we don’t know how comfortable they feel when they get not a white canvas, but a painted canvas.”
It’s relevant to mention that the collaborative works of Layer Cake have always been this way between the two – and the Versus project is simply opening up the process for new artists to participate in this way. “We had been doing this for five years already,” says Hundertmark, “so for us, it was just normal.” That practice grew into the Versus Project, a project of trading canvasses that resulted in two mounted exhibitions at Urban Nation’s special project space in Berlin. Now for Versus III, the exhibition travels to Miami with the guys at the Museum of Graffiti.
Some artists they had met only through the Internet or social media, and others were long-time friends. Some had a special meaning because they were introduced by recommendation. Others were revered originators in the graffiti and street art scene, with well-known careers on the street stretching back decades. No two experiences were the same – with multiple variables at play, including how much time an artist took to respond with their new iteration. A few never returned their canvas at all.
“Of course, you always have something in your mind about how the canvas will look when it comes back,” says Hartl during an exhibit tour.
When working with the Berlin art couple Various & Gould, the guys thought they would send them their first layer in tones they would be pleased with. “For this one, it was exceptional because we sent them a green and yellow canvas,” says Hartl. “They opened it and said, ‘Okay, these are not the colors that we usually work with!’”
“For us it was interesting to see what was coming back. So we opened it and said, ‘Wow, they added orange!’ ”
The Swiss graffiti writer and artist Thierry Furger speaks of his ‘buffed’ paintings and relates that it was a tentative process to collaborate like this on a canvas, feeling like he was breaking the rules, but eventually, he liked it.
“In graffiti, going over or crossing other pieces is actually a no-go and sometimes connected with consequences,” he says, and it sounds like he still has some reservations. “But I really hope that if I ever meet the two guys that they do not punch me because I went over them, ha ha ha.”
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Highlights of Layer Cake Opening “Versus III” at Museum of Graffiti, Miami
BSA Special Feature: Highlights of Layer Cake Opening “Versus III” at Museum of Graffiti, Miami
“Versus III” opened last night to a lively crowd of graffiti and street art, and contemporary art enthusiasts who roamed the museum freely, taking in the new 10-piece exhibition as well as the permanent installations throughout. The contrast between the very educational, historical exhibition and the days-old one just installed by the Munich-based artist duo called Layer Cake was not as pronounced as you may think due to the conscious attention in the museum’s wall text descriptions that recognized the fluid nature of urban arts evolution throughout the last 5+ decades.
Today we have a collection of video outtakes featuring Christian Hundertmark and Patrick Hartl giving verbal descriptions of their process on specific canvasses, selected outtakes from the panel discussion with the museum director, writer, historian, and graffiti encyclopedia Alan Ket and Urban Nation Museums’ Steven P. Harrington before invited guests and 360-degree views of the incredible actual layer cake just before it was cut and served by the artists.
Our special thanks to Alan Ket and co-founder Allison Freidin as our excellent hosts at the Museum of Graffiti and the whole MOG team who were so professional and helpful to us, including but not limited to Alexi, Caroline, David, Caleb, and Jamie. Thank you to all.
Versus Project 3 – Miami Museum of Graffiti
Layer Cake – The Versus Project 3. Miami, Florida. Opens today for the general public. Click HERE for more details, schedules, tickets, etc.
Get in, get out, no one gets hurt. Our few days in Miami were full of adventure on the street and at parties and receptions for artists. The party rages on tonight and this weekend at the fairs and in the galleries and bars and streets of course, but our last events were interviewing Faile onstage at Wynwood Walls last night, going to the Museum of Graffiti 2nd Anniversary party/opening for FUZI, and, well there was this thing with Shepard Fairey and Major Lazer and a guy proposing marriage to his girl before the crowd…
But really, where else but Wynwood do you see Blade and his lovely wife Portia on the street, or sit with Ron English and his son Mars on folding chairs directly on the street in front of his new pop-up, or have a hug with ever-sunny Elle in front of her lift, or hide in the shade with seven 1UP dudes across the street from their massive new space piece, or talk with Ket in the back yard with “Style Wars” playing on a large screen behind him and the DJ while a florescent colored Okuda marches by, or chase Lamour Supreme while he tries a one-wheel skateboard around a parking lot, nearly crashing into Crash who is in his cherry picker with Abstrk painting a wall? The dinner at Goldman Properties Monday night? Dude.
We’re not really name-droppers, you know that, but honestly it was like a family reunion dinner with perfectly punctilious attention to detail over at Wynwood Walls this week – after two years of Covid fears killing everyone’s buzz. We saw Daze, Shoe, PichiAvo, Bordalo II, Jonone, Shepard Fairey, 1Up, Add Fuel, Case MacClaim, Nychos, Faile, Martha Cooper, Nika Kramer, Mantra, Ken Hiratsuka just to name a few – cavorting with collectors, cultural workers, fanboys, journalists, bloggers, academics, critics, bankers, gallerists, curators, museum people, real estate folks, photographers, dancers, silk climbing aerialists and hustlers of many flavors – and all the class of ’21 artists whom Jessica Goldman invited to paint this year. A Miami mélange, we’ll call it.
We were even having dinner with Martha when a local stencilist named Gregg Rivero sat in an empty chair at the table with us to offer an array of small stencil works featuring graphically pornographic scenes – to choose from as a memento of Miami indubitably. Naturally, we carefully perused his entire collection of 20 or so spread-eagles, doggie-styles, Shanghai-swans, Mississippi-missionaries, Dutch-doors, bobbing-for-sausages, and lord-knows-what-else. After careful consideration and we each selected a favorite stencil and he autographed it. Just not sure what room to hang it in…
Our treasured part of the Miami art vortex ’21 was meeting some BSA fans and Faile fans mixed together at the artist talk hosted by Peter Tunney at GGA Gallery last night. An action-packed hour of pictures covering their 35 year friendship was on offer for the assembled – focused mainly of course on their 22 year professional career. What an amazing career of image-making it is too – and even though we were prepared, there are always surprises with such dynamic dudes who have parlayed an illegal street art career into a well-respected and pretty high profile career with intense collectors and fans of their simplest silk screens and works on paper to their wood puzzle boxes, wood paintings, toys, ripped paintings, and their very new, completely radical approach that breaks their own mold for this “Endless” exhibition. And need we say it, Faile have already released a number of NFTs of course – which some in the audience didn’t know that Faile had – but could have guessed since Faile pioneered interactive digital games that accompanied their analog works as early as 2010 when most people still didn’t even have a smart phone.
But we digress. Back in New York now and it’s grey and cold and unwelcoming, and of course we love it. Thanks Miami! See you soon.
The image below was taken in Wynwood, Miami. At the panel, with Faile, they talked about the process of making their art and one of the subjects was about ripping up posters from the street…. – and how their original name was Alife. Two blocks away we found these ripped posters advertising Alife.
FAILE: ENDLESS is currently on view at Goldman Global Arts Gallery at Wynwood Walls. Wynwood, Miami.
James Prigoff signed all of his emails with one word in Spanish: “Paz.” (peace)
It was deliberate, intentional, and with that one word, he created a tag for himself that spoke to his commitment to peace on the street and across the world. Looking over his decades of dedication to exploring and documenting, one sees a sincere commitment to understanding and identifying with other cultures and embracing others as brothers and sisters.
Known foremost in the graffiti world for being the co-author of Spray Can Art with Henry Chalfant in 1987, he captured 100,000 photographs worldwide over five decades. His professional sense of curiosity and self-education drove him to persevere in his documentation of the graffiti scenes of the Western US but eventually spread worldwide.
Today we recognize the personal sacrifice and pride that went into that publication or his subsequent publications and honor the dedication. With his efforts and others like him, the graffiti/street art/mural art cultures received much greater recognition and validation. Serious discussion of the contributions of these practices can be directly attributed to the massive platform his work provided the scene.
Along with Subway Art by Chalfant and Martha Cooper, Spraycan Art is annually sighted as a powerful inspiration to thousands of artists worldwide who needed that encouragement to express themselves as artists. That alone is a reason to celebrate his life and be thankful for his work and deep dedication to the culture.
It was in the early 1970s “I became fascinated with the political nature of the art in the streets,” Jim wrote in perhaps his last personally written essay and publication here on BSA Writer’s Desk just last month. The inaugural opinion/editorial of the monthly series provided him the opportunity to talk about his life, formal and street education, his observations of artists and movements in culture and politics during the last 7 of his 9-plus decades. A civil libertarian and champion of the rights for the equality of people across the spectrum, he was happy to make “good trouble” even suing the federal government over an unconstitutional surveillance program in the mid-twenty-teens.
An avid observer and analyst, we prized Jim as a friend and confidante because he knew how to connect the dots between larger socio-political movements and to put the art and artists within context. Astutely diplomatic and wise, he advised us on navigation and perspective in this vast creative world of graffiti, street art, and mural – lessons we will not forget. He also shared his theory about photographers being led by “the Graffiti Gods” with a smile and a glint in his eye.
His empathy was never far from any topic, despite his strident views and opinions. Even during this last year of Covid he wrote to check on us;
“Not an easy time to be shut down in NYC. Hope you are doing OK.”
Only two weeks ago Jim wrote to us with his concern that Gen Z was not getting vaccinated at the rate of the rest of the population and he wondered aloud if street artists were helping to reach out to them on the street.
Less able to travel as freely in recent years, he attended big exhibition openings near his home of Sacramento and Miami and New York – usually with one of his gentle and patient children pushing his wheelchair. Each time he was enthusiastic and opinionated and, well, joyful. Last summer, during Black Lives Matter protests across the country, he was thoroughly following events and their effects on art on the street. He was also eager to share what he found with the world.
He shot photos from the open window of a car driving through Oakland, eager to share what he found – which we published. Jim often commented on our daily postings to us in emails – and we are proud that he shared his writing and photos on several occasions with BSA readers. Always more interested in people than profit, Jim understood our platform and mission better than many.
Our hearts are sorrowful to bid goodbye to Jim Prigoff now, but we are comforted to believe that he is joining his dear Arline, with whom he spent 72 years as husband and wife. An absolute pillar in graffiti, street art, and mural history, documentation, and archiving – Jim was a scholar, an ardent peace activist, an author, lecturer, community activist, a fervent supporter of so many, and a kind person. Our deep condolences to his children, grandchildren, great-grandchildren, his graffiti/street art family, and his colleagues. We are grateful to have called him a friend.
Jim’s last published essay was on Brooklyn Street Art as the inaugural essay for BSA Writer’s Bench in March, 2021:
Selected quotes from hundreds of social media commenters across Facebook and Instagram
“Jim’s good work is done, may he rest in peace.” Henry Chalfant
“Jim was so good to us. He allowed us access to hundreds of rare East Bay photos and couldn’t have been any more generous. Jim loved the East Bay and knew most of the writers by name. His only hope was that his photos would be seen and we intend to make that happen. Rest in peace to a great human being and true graffiti devotee. You will be missed. Much love, Will & Jake” from East Bay Archive
“The coverage Henry and Jim gave to Goldie in Spraycan Art provided a massive worldwide boost to his career and encouraged him to think globally.” Martin Jones
“Pictures that meant so much to so many. Those pictures was part of so many people’s phase of growing up and becoming those who they are today. People such like myself. Thank you Jim.” Tatu Moisio
“Spraycan Art was, is and will remain alongside Subway Art as the Bibles for anyone interested in graffiti. I’m from North-East Scotland, and it certainly had a huge influence in my life.
Not to mention being one of the most stolen books OF ALL TIME!
RIP Jim, and thank you.” Eddie Grady
“A worldwide generation were introduced to a new breed of heroes who became a catalyst to our lives, and for those whose work was featured by Henry, Jim and Martha, their lives were forever changed. Take a moment to imagine a world where your work never existed… … that truly provides an awe-inspiring perspective. A life lived with huge contribution. Rest In Peace Jim!” Gordon Barrett
“We went on a 6 hour tour around Chicago together. Fascinating conversation about art and life, thru the years. Very enriching conversation for a youth of 17. A Gentleman and a Scholar truly. Risen In Perfection.” Tyr Dem
“It’s so Strange. I was just going through Spraycan Art this morning.” Lars Skouboe
“I am saddened by the news of the passing of a champion of graffiti culture.” Gonzo 247
“Spraycan Art introduced us to other graffiti legends in across the country and internationally.” Carlos Tiangco
“This guy gave us kids access to a culture that shaped us, our futures and our world. Thanks James / Jim Prigoff. 1927-2021.” Sunk One
The graffiti community lost an advocate and documentarian yesterday. Thanks for all your years of dedication to documenting us all Jim. He was one of a kind. I’m glad to have known him. Rest well.” Alan Ket
“Rest in Peace James Prigoff — Spraycan Art was the first book I ever looked thru as a teen to learn about graffiti. It is where I saw Lady Pink for the very first time!” Toofly
“This was our culture. What we offered the world. The birth of a culture. A culture that became a world wide phenomenon. Last night one of our documentarian passed. RIP James Prigoff. A great guy who shared with the world through his photos this culture we created. Yo James..
“AND WE DONT STOP!” TKid
“My Heart is still breaking from the passing of our friend and historian, author and photographer Jim Prigoff whom I was in constant communication with until 3 days ago.” Portia Gail McHenry-Ogburn
“This book changed the course of my life forever… as well as tens of thousands of youths across the world throughout the 80’s – 90’s. Thank you #JimPrigoff for your passion and dedication. #JimPrigoffForever.” Revok
“Saddened to hear of Jim’s passing, my condolences to his family and friends.” John “Crash” Matos
“Wow. This is sad… he would stay at my dads house and do you Friday night slideshow sessions with popcorn when he would come to town.
Jim will would always remind me how lucky we are and to never throw food away. This has stuck with me to this day.” Carlos Rolon
“So sad to hear about the passing of one of the greatest – graffiti and street art photographer, author and peace activist Jim Prigoff.
I met him in Los Angeles where he took me on a tour to photograph graffiti. We shared a panel in the Museum of Contemporary Art (MOCA). He supported me so much with my books, contributed an amazing photo of female graffiti artist Reminisce to my Graffiti Woman book and even wrote a foreword for my last book Street Messages.
Through him I ate the American version of coleslaw for the very first time.
He was an amazing and inspirational person. He influenced the whole world with his book Spraycan Art (together with Henry Chalfant), that sparked a main flame for the widespread graffiti fire.
Thanks so much for all the time you shared with me, my thoughts are with your family and friends. May you rest peacefully.
“I have so many photos and emails from Jim from over the years. This man was a force and driver in the culture. If he was a kid when writing started he would have been a writer for sure. It’s nice to read all the stories about the him. This photo of me holding his book is from the beginning of 2020 when he had a showing in San Francisco. I told him i couldn’t believe after all these years i didn’t have a signed copy from him. He hooked it up in classic Jim style. I salute you to a full impactful life and thank you for helping a lot of writers careers one way or another. Rest in power” Apexer
“Yea man heavy hearts right now. That book man was the west coast bible!” Aaron De La Cruz
“Our dearest Jim.
When we last saw you two weeks ago you said the single most amazing technological advancement (in your opinion) was the ability for photographs to be shared via email. You said that you imagined that it was even more impressive to you than the automobile had been to your parents. Despite your awe of the invention of digital photography and email, you took on this miracle as you did all things you were passionate about, with gusto.
How lucky are we that you lived you in the era of the modern day camera. You took an art form that was inherently temporary (graffiti) and made it permanent. You took an art form that was the voice of an entire generation, who could not find a platform to be heard, and shared their voice with the world. You knew that “Art is power” and you never failed to use your privilege in this world to ensure that that power could be amplified for change.
You are a legend, who left the world a better place not only through your photographs but also simply through your presence on this planet.
To us however, you will always be our Grandpa Jim and our very small world will forever be just a bit sadder everyday now that you are no longer an email away.
Nothing can replace the experience of reading a printed and bound collection of images and texts – and the number of Street Art and graffiti related books that come out every year continues to grow in quantity and quality. We don’t receive all of them, and we don’t get the chance to thoroughly review them sometimes, but many of them do pass our desk and we take time to highlight ones that strike a chord throughout the year.
Here is a BSA Hot List selection from 2016 – a cross section really – that impressed us for one reason or another. Full disclosure: we were fundamental to the design and structure of the Icy & Sot book and wrote the Afterword and worked closely with the artists for months, and Ella & Pitr drew us into one of their illustrations, so there is a little more than usual bias in those choices. But otherwise, we’re confident that you’re well served by choosing from these titles for Christmas presents or Hanukkah gifts or Solstice offerings …
Dignity in “Tracing Morrocco” gives pause, requests your consideration.
Last year we wrote about Hendrik Beikirch’s journey to Morocco, The Trades. With the support of the Foundation Montresso he embarked on a project to paint the portraits of people whose trades might be in danger of becoming obsolete and/or disappearing due to the complexities of the modern world. Tracing Morocco, the book about the project is now out…
Hendrik Beikirch’s Tracing Morocco published by and in collaboration with Montresso Art Foundation. November 2016.
“This book is about the artists who have pioneered, promoted and transformed this ‘other’ art world,” says the author, himself a graffiti writer, artist, curator, activist, advisor and entrepreneur. What is fresh about his approach is the egalitarian respect that is given to artists regardless of their genre or associated scene, something we have always tried to balance as well amid a sometimes turbulent volley of antagonism that can sometimes distinguish graffiti/street art discourse.
Who knew that babies could use so many diapers! What to do when you are in a foreign city and both of you are sick as dogs? Also, we may need a crane to help us finish the world’s largest roof mural.
These considerations are things you draw into your travelogue diary when you are Ella & Pitr, the painters of enormous kings, pilots, and couples cuddled in bed on fields, rooftops, and beaches around the world.
Ella & Pitr. Les Editions Papiers Peintres. France. November 2015.
Wanderer Mike Makatron has been spending his young manhood traveling the globe and painting walls and experimenting with styles of art ranging from fantasy illustration to loose and leafy botanicals, with symbols of indigenous spirits, psychedelic mushrooms and plenty of the time honored ying/yang.
Mike Makatron – In Ten Cities published by Trojan Press. Melbourne, Australia 2015.
“This is not an autobiography in the practical sense. I didn’t cover the day-to-day minutia of my childhood or formative teenage years all the way to the present. Rather, I have chosen to take the reader on a journey that covers some of the seminal moments in my life. Those moments shaped my art and allowed me to continue to evolve as an artist,” says graffiti/street/studio artist DAZE of the brand new collection of images and essays that make up “Daze World,” the new hardcover from Schiffer.
DAZE WORLD: The Artwork Of Chris DAZE Ellis available through Schiffer Publishing.
Murals hold their own place onstage in public space today for a variety of reasons that we discuss regularly on BSA. From grassroots and public, to private and corporate, we have watched the genre professionalize as Street Art festivals and other initiatives are often coupling artists with brands and are selling canvasses through the organizers’ galleries. Today we have the first of a promised four-part book series by Art Whino gallerist and organizer of the Richmond Mural Project in Virginia, Shane Pomajambo, that features many artists he has worked with in the brand new “The Art of the Mural”.
The Art of The Mural: Contemporary International Urban Art. Volume 01 by Shaen Pomajambo. Schiffer Publishing
An immigrant’s tale, Rubin’s, and a New York story as well. For his first artists monograph the Fin by way of Sweden brazenly tells you his story in a most deliberate and considered way. It’s brazen because it’s a truth that has taken him a long time to be ready to tell, ready to be vulnerable. It’s carefully considered because – that’s his style.
Rubin. Scandinavia / New York. Studio Works and Murals. Published by Dokument Press 2016. Sweden.
“Street Art / Today” features 50 of the Most Influential Street Artists
It’s nearly impossible to arrange the work of Street Artists into lists of “top” or “most popular” or “most influential”, but it happens all the time now particularly as the street art world morphs into a commercial and professional scene for some. But it’s a dodgy business when one tries to rank art and artists – and most people will disagree with your list no matter what.
Street art / today: The 50 most influential street artists today by Bjørn Van Poucke & Elise Luong published by Lannoo. Belgium.
New Book by Patrick Verel Attempts to Untangle the Graffiti Mural Discussion
In Graffiti Murals: Exploring The Impacts Of Street Art, a methodical study of graffiti and murals in Manhattan, Brooklyn, The Bronx, Staten Island, Jersey City, Philadelphia, and Trenton (New Jersey), author Patrick Verel talks to all of the stakeholders he can find, revealing much in the telling of his findings. The author says he created this book from a paper he was researching for while completing his masters degree in urban studies, and you can tell his intention was to turn over as many stones as possible to study the impact this grassroots art movement is having on the communities that murals appear in.
Graffiti Murals: Exploring the Impact of Street Art. Patrick Verel. Schiffer Publishing. 2016
Deceptively simple, he expresses profound truths that are anything but. Since the turn of this century in his hometown of Hackney, the formerly homeless Stik has been bringing his unassuming line drawn character out to the streets of northeast London, often Shoreditch. With few details and is as uncluttered as a logo, Stik towers above on the side of a housing behemoth, or a water tower, or a doorway.
STIK. Published by Penguin Books – Random House. New York City. 2016
Artist and activist Shepard Fairey this week releases a 2 volume “Earth Crisis” set that commemorates a recent public environmental project and doubles as a collection of plates to jumpstart your collection which you could easily frame and hang. With it comes powerful socio-political messages common to his wheelhouse delivered with the artists often iconic sense of design.
Shepard Fairey / OBEY. Earth Crisis. Albin Michel Publishers . Galerie Itenerrance. Paris. July 2016
“We first met Icy and Sot the summer they arrived in New York. Their name was already preceding them on the Internet because even while still in Iran, they had developed a network of friends and collectors who had helped them to show their art in Europe. Images of their work had already caught our eye. We were lucky to be the first to interview them here.” – Steven P. Harrington and Jaime Rojo, Co-founders, Brooklyn Street Art
BSA is proud to tell you of this new book, the first monograph of Iranian Street Art brothers ICY & SOT, which we dedicated many hours of design, editing, interviewing, and writing to, in addition to contributing photographs by Jaime Rojo. Along with the brothers and book designer Cassandra Brinen, we spent many hours in New York meetings in each others apartments and Brooklyn cafes sorting through images and stories to find the narrative and the flow of the pages and chapters (even laying all the pages across a living room floor), all the time wondering if we could finish it in time and to the quality level and taste level everyone was looking for.
Icy & Sot “Let Her Be Free” Lebowski Publishers. Amsterdam 2016
The memory of the joy and the excitement of discovery of graffiti and Street Art is something we never take for granted, and we have always given voice to as many artists and photographers as possible on BSA for that reason. Luna, whose real name is Katherine Lorimer, this month introduces her first book-bound collection of many of her most electrifying moments of capture and documentation.
Heavy on New York artists, particularly her favorites and dear friends, the collection captures a splendid offering of the spine tingling pieces of ephemera one could stumble upon here in the last 11 years – if they did the hard work. Expertly collected and selected, this above all is a reflection of one personal journey.
Katherine ‘Luna Park’ Lorimer’s book (UN)SANCTIONED The Art On New York Streets from Carpet Bombing Culture