Welcome to BSA Images of the Week. The first World Cup match kicked off just across the river in New Jersey yesterday, and last night the hometown champion Knicks took over your rooftop—or at least a giant screen courtesy of your cousin Eddie, who hosted a raucous watch party where fair-weather fans from every corner of the fandom universe yelled at referees, second-guessed coaches, and hugged strangers after every basket. The city is on an exhuberant high because the New York Knicks have won their first NBA championship since 1973, ending a 53-year title drought.
Ah, bread and circuses. The games grow grander as the purse grows lighter.
Congratulations to the world’s first trillionaire, Elon Musk! Rome would be proud. The only thing missing is a senator feeding grapes to a tech CEO on a livestream. That’s probably next week.
Here’s our weekly interview with the streets, featuring: Andaluz the Artist, CARVE, Crash, Fumero, Gusto NYC, Harold Hunter, Jorit, Mike Makatron, Nemezoid, Qrusty, Tone Wash, and V. Ballentine.
Spring is arriving, but conversations around the city keep circling back to the war—bombings, deaths, oil prices, and the prospect of boots on the ground. At bars, clubs, and bagel shops, the mood turns serious quickly. There’s little joking in today’s daily discourse. Mostly, people wonder how this war began when so few seem to support it; recent polls put approval around 29%. People don’t feel like they were consulted, or considered.
Across news agencies as days pile up, the stories grow of governments in more than 50 countries across Europe, the Middle East, Asia, Africa, and the Americas have calling for a ceasefire, de-escalation, or a return to diplomacy. It is a widening conflict involving the United States, Israel, Iran, and every contry in the region- with threats to Turkey and Europe. In New York—home to neighborhoods and communities from many of those same countries—the conversations are personal, and the tension is easy to notice.
The famous yet anonymous Banksy has finally been revealed—at least according to a lengthy new piece in Reuters. Over the years, the elusive street artist has weighed in on the plight of Palestinians, Ukrainians, and African and Syrian refugees, and has often returned to the images of children as a symbol of hope, innocence, and loss. At the moment, as events around the world turn darker by the day, few seem to be talking about his wry interventions.
In Washington public space, a satirical sculpture that appeared on the National Mall has been drawing laughs—and, for some, feelings of nausea. The piece depicts Donald Trump and Jeffrey Epstein in a Titanic-style pose and is titled “King of the World.” Reuters reports that the installation was created by the anonymous collective called Secret Handshake. The Epstein scandal has been mentioned in some circles as a possible motive for distraction in launching the war, though others argue the drivers are more likely rooted in geopolitics—namely oil, and the petrodollar that runs through it.
Here is our weekly interview with the streets, this week featuring Alice Mizrachi, Calicho Art, City Kitty, Clark, Crash, Fun Quest, Humble, IMK, Inphiltrate, Manuel Alejando, Must Art, OSK, Outer Source, Rats, REPO, REVOLT, and TOWER.
Welcome to BSA Images of the Week! This is the last weekend of the summer for some, a celebration of workers’ rights for others. Labor Day’s parade began in 1882 in Union Square, New York City. Now, unions are under attack, as they have been for a long time. However, without your labor, this city would not exist as it does today.
Labor Day in New York is more than just a long weekend — it’s a reminder of the people whose work has shaped the city and inspired workers’ movements worldwide. From builders and transit crews to teachers, caregivers, and service staff who keep daily life moving, New Yorkers have always been at the forefront of fighting for dignity and fairness on the job, often at great personal sacrifice. Like the uncommissioned art and permissioned art that fills our streets, some labor is public, visible, and often underappreciated — yet it leaves an unmistakable mark on the life of the city. We honor that history and salute the many workers across the five boroughs who carry it forward every day, with grit, pride, and a determination that makes New York what it is.
Here’s our weekly interview with the street, this week featuring works from Bird Milk, Crash, Duke A. Barnstable, Homesick, Molly Crabapple, PAGED, SAMO@, SAMOI, TFP Crew, and Wild West.
The George Floyd mural at Elgin and Ennis in Houston’s Third Ward has been quietly demolished — a move that caught many off guard, especially as the fifth anniversary of his death approached. More than a painting on a wall in the margins of the city, it was a community’s act of remembrance, a public reckoning, and a visual anchor for a moment when the country seemed to shift. To awaken.
And yet, here we are. Five years later, and it’s hard to say what lasting change took root. In some camps, being ‘woke’ is a pejorative, and going back to sleep is encouraged. The arc of justice bends, but it bends slowly. Or maybe it bends into circles.
Meanwhile in New York, a Banksy mural on a six-ton wall hit the auction block and… nothing. Not a single bid. Cue speculation: are we finally past the Banksy-buoyed street art boom that’s defined the last two decades? Or was the opening price just too steep? Maybe the rollout was sloppy. Maybe it was the economy. Whatever the reason, the silence in the salesroom is rare — and could signal a shift in the so-called urban contemporary art market.
And yet, the Banksy machine rolls on. At this point, there may be more Banksy museums than Starbucks — none sanctioned by the artist, of course, but still packing in the crowds. There’s The Banksy Museum in NYC, The World of Banksy in Paris, Museu Banksy in Barcelona and Madrid, and the touring Art of Banksy show, rolling through Jakarta, Melbourne, and Vancouver. It’s a brand now — maybe not quite as big as Mickey Mouse, but it’s definitely what cultural tourists reach for when they want a little edge with their museum day. What this says about the artist, the audience, or the architecture of commodified rebellion… you draw your own conclusions.
So here’s some of this week’s visual conversation from the street, including works from Shin, Crash One, GO, Ham, Hasp, Homesick, IMK, Jeff Henriquez, Mike King, Nela, Piggie the Pig, Queen Andrea, Stesi, Wetiko, Wild West, and Zimer.
Urban Nation’s Love Letters to the City, curated by Michelle Houston, is both an exhibition and a fulsome, sophisticated incantation. It invites audiences to confront the layered realities of urban life through the interpretation of its anonymous visual rebels, graffiti writers, and street artists and a generous representation of activists.
The show embraces the chaotic energy of unsanctioned art in the streets while seeking to decode its deeper meanings. It moves beyond the aesthetic to probe the social and political forces that shape these messages, sometimes manifestos. With themes ranging from urbanization and gentrification to environmental degradation and social inequality, Houston challenges visitors to imagine and reimagine the role of art in public spaces and consider its potential to transform the everyday into something with weight and impact.
“Painting in public spaces is inherently political,” Houston says, emphasizing the power of public art to reflect and react to the environment in which it exists. This exhibition showcases that power, exploring how artists navigate and reinterpret public spaces to create works that are as much about dialogue as they are about visual impact. The concept of “love letters” broadens here to encompass affection, critique, sarcasm, and hope—as multifaceted as the modern city.
One of the exhibition’s defining features is its indoor and outdoor elements integration. Lady Pink’s monumental mural on Urban Nation’s façade is a vivid testament to her approximately fifty-year legacy of painting on city walls and the interconnected histories of New York and Berlin. Her work, swirling with trains and iconic tags, serves as a personal love letter and a broader commentary on the universal city—a place of movement, reinvention, and resilience. Inside, installations like Moses & Taps’ suspended parcel truck and Rocco and His Brothers’ reconstructed graffiti writers’ benches disrupt the museum space with some of the raw energy of the street, blurring the lines between the institution and the public sphere.
The show also delves into Berlin’s complex history with walls and paint, with artifacts from the Stiftung Berliner Mauer prompting viewers to consider the dualities of oppression and liberation that define the city’s narrative.
“What is it about the glorification of a symbol of oppression by painting one side, and how was that commercialized?” Houston asks, pushing audiences to think critically about how art interacts with history and commodification. These questions resonate deeply in a city where the walls bear witness to decades of struggle and transformation.
The exhibition combines an impressive roster of artists, from early pioneers like Blek le Rat and Shepard Fairey to contemporary innovators like Bordalo II and Jazoo Yang. Each work offers a distinct perspective on the urban experience, whether through critiques of environmental decay, explorations of social identity, or celebrations of urban resilience. Houston’s curation creates space for these voices to intersect, offering unity and tension as the exhibition’s themes unfold.
At its heart, Love Letters to the City is a call to reconsider how we interact daily with the designed/built/neglected/destroyed human-made environment. It asks us to see the city as a backdrop and an active participant in our lives—a canvas where personal and collective histories collide.
As Houston asserts, “Paint in public space has a different potency in the city than anywhere else.” That potency lies in its immediacy, ability to provoke, offend, and inspire, and capacity to reflect urban life’s complexities. Through this exhibition, Urban Nation affirms the enduring relevance of this kind of public art and its power to illuminate the cities we call home.
2501, Banksy, Blek le Rat, Bordalo II, Carlos Mare aka Mare139, Chop ’em Down Films, Crash, Dan Witz, Daze, Drew. Lab_One, Elfo, Evol, HA Schult, HOGRE, Isaac Zavale, James Reka, Jaune, Jazoo Yang, Joel Daniel Phillips, Johannnes Mundinger, Jordan Seiler, Kenny Scharf, Lady Pink, Liviu Bulea, Martha Cooper, Matthew Grabelsky, MILLO, Moses & Taps, Nika Kramer, Octavi Serra, Owen Dippie, OX, PAINTING DHAKA Project, Mr. Paradox Paradise, Rocco and his brothers, Sebas Velasco, Shepard Fairey, Stephanie Buer, Stiftung Berliner Mauer, Stipan Tadić, Susanna Jerger, Tats Cru, THE WA, Vhils, and Zhang Dali.
Video credits: Commissioned by Stiftung Berliner Leben. Shot by Alexander Lichtner & Ilja Braun. Post-production, additional footage, graphics, and a final version by Michelle Nimpsch for YAP Studio/YES, AND… productions GmbH & Co. KG
LOVE LETTERS TO THE CITY
September 14, 2024 – May 30, 2027. For a schedule of events, hours of operation, directions, and more details click HERE
Welcome to BSA Images of the Week and to fall—officially here as of this morning in New York and the rest of the Northern Hemisphere. The leaves are starting to pop with yellows, people are breaking out the wool turtlenecks and corduroy way too early, and somewhere under the bleachers at football games, a few sneaky kisses are being stolen. Meanwhile, students are finally settling into the grind of the school year. But flip it for the folks south of the Equator, where spring’s about to bloom. In both hemispheres, whether it’s fall or spring, artists and vandals will continue to tag the overlooked corners and forgotten walls, staking their claim in public space.
This week in the BSA book review department, we’re diving into a new scholastic tome from one of the few brilliant graffiti scholars out there—Rafael Schacter. You might remember him from his global street art compendium, his curated show ‘Mapping the City’ at Somerset House in London (yes, the one that included people like Brad Downey, Swoon, and Eltono), or even his early work at the Tate back in ’08 with artists on the façade of the museum like Faile, Blu, and Os Gemeos. His latest book, Monumental Graffiti: Tracing Public Art and Resistance in the City (MIT Press), just landed on our doorstep. We’re eyeing it with both curiosity and caution as he’s making some bold connections between monuments and graffiti—connections that are peculiar on their face. He’s digging into a secondary or even third-tier definition of ‘monument,’ so who knows, it might all come together in the end. But this is the same guy who gave us ‘intramural’ graffiti about a decade ago… and, that term hasn’t hit the streets, as it were.
Re: intramural – In his curatorial work Schacter sometimes argues that street art occupies a unique space that is neither fully embraced by institutional frameworks (like museums and galleries, the “inside”) nor entirely outside them (like illegal, unsanctioned art in public spaces, the “outside”). Intramural, extramural. Makes total sense. But aside with the confusion caused by the word ‘mural’ buried inside it, there is perhaps a ‘branding’ problem with the word here in the US. It sounds too much like ‘intramural sports,’ which were always introduced at grade school for both boys and girls to play together to foster team-building skills – right around the age when girls typically think boys are ‘gross,’ and boys think girls are ‘weird.’ So it feels awkward and frightful! I feel like my voice is cracking and I’m growing a very light mustache when I hear it. Let’s see how this graffiti/monument thing works out. If anyone can do it, Rafael can!
And here we go boldly into the streets of New York and Berlin this week with new extramural stuff from: Judith Supine, Crash, 1UP Crew, Homesick, Nespoon, Hera, Phetus, Atomik, Qzar, Wild West, Drew Kane, and Seileise.
Happy New Year of the Tiger! We found some on the street this week in New York, no surprise perhaps.
In other news, OG train writer Chris “Daze” Ellis captured the attention of The New York Times this Friday with his new contemporary art show “Give it All You Got” at P·P·O·W Gallery, and in a related story, according to the New York Daily News, there were 120 graffiti-related incidents on subway trains in January 2021, a 21% increase compared to the same period last year.
In his curatorial incarnation, Carlo has been organizing an enormous new exhibition about New York’s ‘downtown’ scene that he’s curating with Peter Eleey to open this July at UCCA Center for Contemporary Art in Beijing featuring “several defining works of this generation, such as paintings and drawings by Jean-Michel Basquiat and Keith Haring.” McCormick, you will remember, originated the concept and title for his book Trespass : a History of Uncommissioned Urban Art, which made the direct connection between fine art, the avant-garde, and the various street/public art practices of serious radical art movements like those popularized in the 1960’s by Guy Debord and the Situationistes Intérnationales. With these movements and arguments informing our view, it’s simplistic to be so polarized when assessing the value given/damage done by illegal graffiti writers and street artists.
Today our public/private debates about whether someone’s aerosol creation is vandalism or art are far more complex, more palpable than before. Thanks to the validation of graffiti and street art as a cultural force by fashion designers, toy manufacturers, home goods stores, clothing chains, commercial brands, film directors, art collectors, auction houses, artists, writers, professors, and respected education and art institutions, these practices of art-making on the street are enmeshed in the culture, fully a part of it.
One of these days a train car covered with graffiti will head to the yards for buffing… and reappear at an art fair, a Sotheby’s auction, or in the back yard of an avid collector. Our thoughts turn to the “Fun Gallery” refrigerator covered with graffiti tags in that is currently on display at the Phillips “Graffiti” show on Park Avenue right now.
And so we turn to our weekly interview with the street, this week featuring: Billye Merrill, BK Foxx, Crash, DrewOne, Elle, Eraquario, Eskae, Jenkins2D, Lamour Supreme, MAD, Manuel Alejandro, Osiris Rain, Praxis, REDS, Sipros, The Creator, The DRIF, and Twice.
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
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.
Faile. Artists Panel. Wynwood Walls/Goldman Global Arts. Wynwood, Miami. December 1, 2021. (screengrab courtesy of Wynwood Walls)
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.
Faile. Artists Panel. Wynwood Walls/Goldman Global Arts. Wynwood, Miami. December 1, 2021. (screengrab courtesy of Charlotte Pyatt)
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…
Faile. Artists Panel. Wynwood Walls/Goldman Global Arts. Wynwood, Miami. December 1, 2021. (screengrab courtesy of Wynwood Walls)
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.
Meanwhile, artists are still getting up and we must continue living even if we have to take extra precautions and listen to the science and to those who care.
This year’s Welling Court festival in Queens took place under the same health measures as last year. There wasn’t a big block party. The artists painted at their own pace and time sometimes only one alone at the compound – sometimes two at a time.
For the moment, the big gatherings and week-long shenanigans are gone due to Covid. Here are some selections of this year’s proposals and some from previous years that we missed either due to weather, traveling, or simply because those darn cars are always parked in front of the murals.
This time of year, it is hard to find people in Manhattan on the weekends – they’re “weekending” in the Hamptons, darling.
Khari Turner, Hands
Not exactly the original setting you might associate with graffiti, street art, hip-hop, punk rock, zines, and underground art culture but where else can curators Evan Pricco and Kim Stephens sell these works on paper while sipping cool drinks poolside?
“Beyond the Streets” carries the mobile party to Southampton Arts Center this Saturday with a wide swath of styles – 500 works from over 100 artists in an art fair-sized venue. It may remind you of the Urban Air Fair tried in Manhattan in summer 2017, but this one has something that one didn’t: Roger Gastman.
Shepard Fairey, Elysium Lotus
If it’s here, it’s because it is quality work and has a connection to the roots of these subcultural scenes usually as well. Expanding now to the more nebulous category of Contemporary, you may be surprised to see more accessible interpretive variations on the themes. Let’s see that paper, people.
Jane Dickson, Fourth of July 2
Artists include: Action Bronson, Addam Yekutieli, agnès b, AIKO, André Saraiva, Andrew Schoultz, Andrew Thiele, Andy Rementer, Aryz, Bert Krak, Brandon Breaux, Broken Fingaz, Bryant Giles, Camille Walala, CES, Cey Adams, Charlie Ahearn, Chloe Early, Chris FREEDOM Pape, Clark Fox, Cody Hudson, Conor Harrington, Craig Costello, CRASH, DABSMYLA, Daniel Rich, David “Mr StarCity” White, DAZE, DEFER, Emily Manwaring, Eric Haze, Ermsy, Escif, FAILE, Faith XLVII, Fucci, Greg SPONE Lamarche, Gustavo Zermeno, Hilda Palafox, House 33, HuskMitNavn, Ian Reid, Icy & Sot, Jaime Muñoz, Jamilla Okuba, Jane Dickson, JEC*, Jeremy Shockley, Jillian Evelyn, JK5, John Konstantine, Julian Pace, KATSU, KC Ortiz, Kelsey Brookes, Khari Turner, Kime Buzzelli, LeRoy Neiman, Linas Garsys, Liz Flores, Lucy McLauchlan, Lujan Perez, Maripol, Mark Mothersbaugh, Martha Cooper, Marshall LaCount, Matt McCormick, Maya Hayuk, Michael Vasquez, MIKE 171, Mister CARTOON, Neena Ellora, Nehemiah Cisneros, Nettie Wakefield, NUNCA, Otto183, Paije Fuller, Paul Insect, POSE, Rebecca Morgan, Reko Rennie, Rello, Richard Colman, RISK, Ron English, Ryan McGinness, Sage Vaughn, Saladeen Johnson, Scott Campbell, Sean from Texas, Senon Williams, Shantell Martin, Shepard Fairey, SJK 171, Sofía Enriquez, SNOEMAN, Spacebrat, STASH, Steve ESPO Powers, SWOON, TAKI 183, The Perez Bros., Timothy Curtis, Todd James, Troy Lamarr Chew II, Umar Rashid, Victor Reyes, Wasted Rita, Wulffvnky, Yarrow Slaps, Yusuke Hanai, ZESER, ZOER and 45RPM.
BEYOND THE STREETS on PAPER July 17—August 28, 2021 Southampton Arts Center, Southampton, New York, 11968
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