It’s great to see that artists on the streets are actually reaching out to help passersby with enthralling words of encouragement these days – the signs and messages we’re seeing are sentiments such as “We will persevere!” and “No Fear. Keep Going!”
Perhaps it is the vacuum of support that has been created by the Divider in Chief – as well as the acquiescent one-party corporate Demoblicans who all haven’t the slightest desire to lead or actually support you in these times of crisis for millions.
And to this we add our voice; Hang in there people! You got this! We are going to pull through this stronger and more united, despite the disinformation war that is arrayed before us. Today people are once again taking to the streets around the world in a populist fervor not seen since the ’60s when Baby Boomers hadn’t abandoned their principles yet. What a pendulum we swing on!
Here’s our weekly interview with the streets, this week featuring Buff Monster, Dan Witz, Gianni Lee, Mtitya Pisliak, Praxi, Skewville, and Techno Deco.
They used to run from the Vandal Squad in this
neighborhood. Now people pay to see their art here.
Through the expansive glass wall on the 6th floor you can look down Kent Avenue to see the spot where a monster pickup truck with a heavy chain tied around a FAILE prayer wheel almost jackknifed on the sidewalk, gave up and sped away. Not that many Brooklynites saw that event in the 2000s – nobody walked here and few people drove through Williamsburg then except truckers looking for street walking ladies wearing high heels and spandex. Oh, and a serial killer.
Now visitors buy tickets to see a circular colonnade of FAILE prayer wheels here at 25 Kent – including the real estate developers and Wall Street professionals who displaced the community of artists whose work made the neighborhood attractive and “edgy”.
Along with Street Artists in this exhibition like Shepard Fairey, Bast, Swoon, Invader, Aiko, Dan Witz, Katsu, 1UP, and Lister, the FAILE duo put completely illegal artworks on walls under cover of night and threat of arrest in this same neighborhood then – transforming it with many others who are not in this show into an open gallery of the streets, placing Williamsburg on the map as New Yorks’ epicenter of the newly emerging Street Art scene.
The Nature of Graffiti and Street Art
As graffiti and Street Art are migratory and necessarily elusive by nature, this story is only one chapter in a volume of history that serious academics are now reconstructing and analyzing. With each passing year and published white paper, the practices of 20th century public mark-making are being examined in greater detail for archiving and for posterity. Not surprisingly, institutions, patrons, collectors, and brands are increasingly interested in this story as well.
When it comes to the anarchic subculture of illegal
street art practice and its influence on society, there are non-stop ironies
sprayed en route from verboten to Vuitton, and street culture has supercharged
the imagination of the mainstream and high culture throughout history – that’s
where the best ideas come from sometimes. Many seminal artworks from “the
scene”, as it were, represent much more than what you are seeing at first
glance. As art and cultural critic Carlo McCormick has described the iconic
Shepard Fairey ‘Hope’ image in Art in
America, many graffiti and Street Art works saved are “not a
fleeting pop-culture sensation but simply the latest crossover hit in a long
line of underground classics.”
The wide-ranging survey that is Beyond the Streets makes sure that you know where the roots are, and who many of the pioneers were. It is impossible to tell a complete story that includes scenes as diverse as west coast Chicano muralism, hobo graffiti, hip-hop commercial design, NY downtown artivism, Japanese low/hi contemporary, skateboard, tattoo, early train writing and a current romance with muralism, but BTS at least gives a serious consideration to each and offers you the opportunity to look further into them.
With the help of photography documentation from people like Martha Cooper, Henry Chalfant, Jim Prigoff, Lisa Kahane, Joe Conzo, John Fekner, Bill Daniel, Maripol, and Dash Snow, the crucial importance of this work provides needed interstitial and contextual information that enables myriad stories to be elucidated.
Exhaustive, no. Exhausting, possibly. Pace yourself.
spent my life surrounded by graffiti and Street Art,” says the shows’ director
Roger Gastman “and you could say that I have been obsessed with understanding
the culture, its origins, and its evolution. It’s incredible to me how far it
With 150 artists whose practices span five decades
and various (mainly) American subcultures displayed in a maze of new walls in
this 100,000 sf, two-floor exhibition, the Beyond the Streets senior curatorial
team includes Gastman, filmmaker/ graffiti historian Sacha Jenkins SHR, Juxtapoz
Editor in Chief Evan Pricco, and author/ graffiti historian / graffiti writer David
CHINO Villorente. Each curator brings core competencies and knowledge of the
graffiti scene (Gastman, Jenkins, Villorente) as it has evolved to include the
Street Art practice and an eventual move toward contemporary art (Pricco).
“It’s absolutely phenomenal,” says Villorente, who says his history as
a graffiti writer compounds the impact for him. “I was glad that the show was
coming to New York because I was born and raised in Brooklyn. I couldn’t have
imagined it – especially when I think back on when I was writing on the trains
and doing illegal graffiti. To have of show of this magnitude is really
“We started writing in ’68 and here we are, fifty-one years later,” says Mike 171 as he gestures toward himself and crew writer SJK 171 when talking about how they began and continued writing their tags on the street in New York City. “This is the history right here,” he says, and you know you are about to be schooled about the plain realities of early graffiti writing. At the opening, you witness each guy tagging in a large dusty window here and realize the love for writing never actually stops.
“We were expressing something that was inside of us,” says SJK 171. “The streets were like ours,” he tells you against a backdrop of their work, Cornbread’s work, and of images full of one color, single line monikers that set the stage for the more colorful, character-driven pieces and burners a decade later, transforming trains into a rolling aesthetic symphony by the mid 1970s.
One of the actual “whole car” writers of that period, Lee “LEE” Quinones, here recreates a “Soul Train” car side on a canvas that looks like it could easily wrap an actual MTA #2-line car that he used to slaughter with cans in the middle of the night at the train yard. When describing the new work he said he was intentionally keeping it simple – perhaps owing the style to his earlier practice.
“I think this is one of Lee’s most amazing pieces,” says Charlie Ahearn, the director of the seminal 1982 “Wild Style” film that Quinones stars in. Ahearn self-produced that film which became an important distillation of the merging of graffiti with hip-hop culture during a pivotal moment in the history of both. Now also a professor of Hip-Hop, art, design, and documentary film making at Pace University, Ahearn is familiar with many of the artists work here, many relationships reaching back decades. “I told Lee that I liked that it was a one-off, that he painted all the color straight off without the embellishment, texturing, and all that stuff.”
Charlie’s twin brother John Ahearn is represented here popping out from walls as well, his sculptures serving as authentic portraits of people you may easily have seen on New York streets over the last four decades. Casted directly on top of the people themselves in a technique he has perfected, the placement of the sculptures gives life to the space.
Star Writers, Immersive Environments, Foundations
The individual clusters of work and canvasses by 1970s-80s train painters like Futura, Crash, Lady Pink, Freedom, Carlos Mare, Blade, Haze, and Daze and next gen graphic painters like Doze Green and Rime are complemented by a number of so-called “immersive” spaces here like the Mission Schools’ Barry McGee storefront with smashed window, and the Australian Pop duo Dabs & Myla’s eye candy floral walls with thousands of artificial fauna created in collaboration with Amelia Posada.
The high-profile graphic activist Shepard Fairey’s 30 year career overview takes a large area and encompasses all elements of his street and studio practice, and Bill Barminski’s cardboard home is open for you to explore with a wry smile, remembering the security room installation he did at Banksy’s Dismaland a couple years earlier.
also treated to a full rolling wall of Craig Stecyk posters that brings you the
sun and surf of California skate culture, sculptures by Mr. Cartoon and Risk, a
kid-friendly illustrated room with crafting supplies for young fans on tables
from HuskMitNavn, and an astute freight train culture educational display by
writer/painter/sculptor Tim Conlon (complete with a mid-sized Southern Pacific freight
on train tracks he and friends built), prints/photos by historian Bill Daniel, and
original drawings by the man some call the King of Hobo Art, buZ blurr.
are a self portrait as predicated on a first Bozo Texino person and I kind of
changed the image around,” says Mr. blurr, a legendary figure in denim
overalls, as he patiently describes his classic tag image of a railway cowboy.
is a writer motif – the pipe smoke is going up and then it is trailing back to
signify movement as the train goes down the track,” he says. “I worked in the
train yards and my job was as a brakeman. I had a little free time so I started
making drawings. I made my first one on November 11, 1971,” he says as he
recalls the state of mind that he was in at the time as he began to tag
freights with the image and text that came to him clearly – and may have
perplexed other travellers.
came from a confused state. I was questioning everything. I was putting kind of
cryptic messages under my drawings. It was anybody’s guess as to its literal
interpretation. I addressed some of them up to specific people but whether they
saw them or responded to them, I wouldn’t have any idea.”
it’s shipped in the crate its 550 pounds,” says Conlon as he stands by the 3-foot
high freight car re-creation on tracks and ties that is
hit with a couple of wild and colorful graffiti burners. “Here I’m going to
show you something,” he says as he pulls back the roof to reveal the narrow
coffin interior in rusted red. “So I’m going to hide some beer in here during
the opening party. This is like the fifth one of these I’ve made,” and he proudly
confides that one lives in the house of Robert Downey Jr.
Digging Deep to Take Risks
to rest on laurels and previous formulas of success, the show keeps a freshness
by presenting known entities pushing themselves further and taking creative risks;
a reflection of that spirit of experimentation we have always prized on the
writer Earsnot from Irak crew, now known professionally as Kunle Martin, said
he had been making work for the gallery containing elements of graffiti, but
felt they were too “safe”.
“Then my friend Dan said ‘you should go back to doing drawings,’” he says as he stands before figurative canvasses in black and white on cardboard. “I said ‘I can’t! It’s too hard! But eventually I began working in my studio five days a week, and I made enough for a show.”
Reflective of the attitude of Gastman toward artists in the community, he told Martin that if he made enough of them, he could place them in this show. “I think he was happy to hear that I was in my studio working. He’s been very supportive of it.”
color-drenched graphic/photographic collage style is featured with plenty of
space in large frames from Chicago’s Pose, who says he is letting photography
and geometry lead him away from his previous pop collage style that may have reminded
many of Lichtenstein. His inspiration here comes from his research into early
photos of graffiti writers running from police “I was
obsessed with John Naars photos and I have usually Norman Mailer as in
inspiration. Some of these photo references are from the Philadelphia Inquirer,” he says.
New York’s Eric Haze also dares himself to take a new direction with three canvasses featuring a refracted piecing-together of imagery and memories of this city in monochrome. Based on black and white scenes of the city by photographer and NYC taxi driver Matt Weber, the scenes capture aspects that are culled from imagination and impression. The centerpiece canvas captures an iconic piece of the Williamsburg waterfront that has been removed in the last few years by developers; the signage of the old Domino Sugar factory by the Williamsburg Bridge.
Mr. Haze said he meant it as a gift and tribute to
his wife, actress and longtime resident of the neighborhood, Rosie Perez who
used to see it along Kent Avenue as a kid. “He’s not afraid to take risks. He’s not afraid to go in the
studio and express what’s inside of him. When he brought me to the studio, he
says, ‘I have a surprise for you’,” she remembers. “I saw the beginnings of the
Domino painting and I was stunned into silence and I got teary-eyed.”
An expanded version of the show that first mounted
in Los Angeles last year, the collection is focused a great deal on the
American history of graffiti with a balance of East/West coast graffiti history
– in a way that may remind you of 2011’s “Art in the Streets” at LA MoCA. That
makes sense, considering Gastman co-curated that show as well.
“It’s both a historical and current look at where
the culture went and where it started and how widespread it is,” says
co-curator Evan Pricco, who perhaps provides a lynchpin view toward the big
name Street Artists who continued to push expectations in the 2000’s on streets
and in commercial galleries around the world. “With the space spread over two
floors it has a way better curatorial sense. I also think it does compete with
museums because it shows that this kind of work is on the same level. You kind
of have to present it in a way that feels very institutional and archival.”
So is Beyond the Streets
a graffiti show or a Street Art show or a contemporary art show? For artist
Kenny Scharf, who first gained attention during the heyday of Downtown
Manhattan’s art scene that benefitted from an interlude where rents were dirt
cheap and Wall Street was on a cocaine high, there is no need to categorize
what kind of art this is.
“You know I never liked labels or titles anyway so
even back in the early 80s I was pegged like ‘oh you’re a graffiti artist,’” he
says. “People feel the need to title and label so I’ll
let them to continue to do that but I don’t fit into any of them and I don’t
want to. I want to fit into all of them and none of them.”
Streets opened June 21 and continues through the summer.
Martha Cooper’s work as exhibited at Beyond The Streets New York
Beyond The Streets NYC is now open in Williamsburg, Brooklyn to the general public and will run until August 2019. Click HERE for schedules, tickets and details.
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
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.
Unearthed by Artsy this week, the paper is ricocheting across social media with shock and dismay uttered by some artists who lament the hollowness of the modern graffiti/ Street Art/ Urban Art world, purporting to be distinct and above it all, yet posing in countless photos on their social pages with myriad peers and professionals and potential clients cheek-to-cheek.
It may be time that some hardcore Graffiti and Street Artists can shed some of the charades about how the globe turns, even if you are a graduate of the “School of Hard Knocks”. This movement we are witnessing toward self-promotion and marketing has always been true: This research paper doesn’t even use modern artists as a model for study – the subjects were part of the 20th Century abstract art movement and most died years ago.
You’ll recall that a central tenant of graffiti is that writers spread their names on every wall in different neighborhoods and cities to get “Fame”. As the authors of the paper Banerjee Mitali and Paul L. Ingram say, “CEOs, activists, scientists and innovators all benefit from fame. Meanwhile, the struggle for fame is becoming ever more intense and complex in a digital economy.” Download the paper here.
Yes, networking helps your career. In other breaking news, puppies are cute, the Pope is Catholic, and boys like short skirts.
This week our Images of the Week are coming to you directly from our latest visits to Madrid, Bilbao, and Bayonne. We’re excited to share what we found with BSA readers.
So here’s our weekly interview with the street, this time featuring Anna Taratiel, Artez, Aryz, C215, Dan Witz, Eltono, Invader, Monkeybird, MSW, Stinkfish, and Suso33.
Here’s our weekly interview with the street, this time featuring 1Up Crew, Add Fuel, Alice Pasquini, Ben Eine, Clet, Dan Witz, Dingo, Kill It, La Tabacalera, LaNe Leal, Lelo021, Nano4841, Okuda, Ruben Sanchez, and Wolf.
“Urvanity seeks to explore and thus imagine possible future scenarios for this New Contemporary Art,” they say boldly in the manifesto for this art fair/cultural platform in Madrid. A thrilling nexus is created here in this college campus of architecture where art from the streets is evolving in such ways that it is invited to come in from the street.
Whatever your perspective is on this evolution, we encourage the conversation – which usually contains elements of tribalism (various), resistance, acceptance, even euphoria. During breaks from hosting the BSA Talks this weekend we are also skipping and swerving through the crowds to look at the art that galleries have on offer.
Here we offer a very quick sample of some items that have caught our eye, looked fresh, or were indicative of larger movements in the so-called “scene”. And we use the word “scene” very loosely, because there is really not such thing as a homogeneous scene, only a constellation of them which are intersecting, coalescing, and redefining themselves. Some pieces are remarkable.
Here is the past, existing side by side with the future.
With a goal of 20 new murals by ’21 (20x21EUG), the city began in 2016 to invite a slew of international Street Artists, some locally known ones, and a famous graffiti/Street Art photographer to participate in their ongoing visual festival.
A lively city that is bustling with the newly blooming marijuana industry and finding an endless array of ways to celebrate it, Eugene has been so welcoming that many artists will report that feeling quite at home painting in this permissively bohemian and chill atmosphere.
With a goal of global diversity a selection artists have included a variety of Street Art names from around the world including Blek le Rat, AIKO, Dan Witz, HUSH, Martha Cooper, WK Interact, Hyuro, Jaz, Alexis Diaz, Telmo Miel, Hua Tunan, Beau Stanton, Matt Small and local talents like Bayne Gardner and Ila Rose. With some luck organizers say they hope this year to also include artists H11235 from Nepal and Shamsia Hassani from Afghanistan.
Today you can see a lot of the painting action thanks to 2018 “20x21EUG” participant and famed photographer Martha Cooper, who had an opportunity to meet the artists this year and catch up on some of the work from previous years. We’re proud to be able to show these new images with BSA readers and we thank Ms. Cooper for sharing them.
We spoke with two important pillars of 20x21EUG, Debbie Williamson-Smith, Director of Communications and Paul Godin, Director of Artist Relations, to get a little background on the festival and to see what makes it unique.
BSA:Can you speak about the genesis of 20x21EUG? Why did you decide to start an Urban Art Festival? Debbie Williamson-Smith: The concept of a large-scale public art project such came from Isaac Marquez, Cultural Services Director for the City of Eugene, and is rooted in Eugene’s rich history of public art, dating back to the Oregon International Sculpture Symposium in 1974. Mr. Marquez gathered a committee of arts organizations and community members passionate about the project and street art to bring the concept to fruition.
Paul Godin: We wanted to invite the very best street artists from around the country and around the globe, to create a living outdoor art gallery in Eugene for the world to see when they came. We have curated a mix of street art legends, rising stars and local heroes, all with very different artistic styles and strong voices. Street art is a global movement, of increasingly high profile, and it was a shared passion that united our committee members.
If you want to take it way back, the origin may well have been a trip to the east end of London ten years ago, on a failed quest in search of a Banksy that led instead to the discovery of the wonders of Brick Lane.
BSA:How is a project of such quality as this funded? Debbie Williamson-Smith: Funding for the project comes from the City of Eugene Cultural Services transient room tax revenue, sponsorship with City of Eugene Parking Services and contributions from wall owners and local businesses through donations of goods and services. We have had over 50 businesses support this project since it started and volunteers have donated hundreds of hours of time. It takes a village to make a mural and a full list of partners can be found on our website.
BSA:Is it difficult to get landlords’ permission to paint on their properties in Eugene? Paul Godin: Heck no. We have found many landlords very open to the idea of putting street art murals on their walls. Civic pride in our project, and the high quality of the work here has made it very easy to sell more wall owners on involvement. Now they are coming to us. Our biggest problem in Eugene with walls is that we do not have as many big blank walls as larger cities do. Our kingdom for a blank 12 story wall!
Eugenians are generally thrilled by the transformation that 20x21EUG has wrought. Just last week, a city police officer brought a woman to her favorite piece, a group of elderly women were seen admiring Matt Small’s piece and chatting.
Debbie Williamson-Smith: It is so electric that we have coined the phrase “mural magic”. This project has ignited the civic pride in our community and has already inspired another mural project, Urban Canvas. This initiative of the City of Eugene’s Cultural Services department matches local walls with local artists and three murals have been added to the cultural landscape since it launched in 2018. People are making mural watching a regular activity, taking children to watch artists in action and bringing visitors to see the murals.
BSA:What are you personal observations regarding the experience as a whole? What would you do different for next year? Paul Godin: One thing that became clear about our festival this year is that we have created a family, uniting our committee, our volunteers, our artists in a unique and inspiring way. We have bonded through our shared experience, the long nights, the controlled chaos days, the communal dinners, and the stains of primer on all of our clothes.
Debbie Williamson-Smith: This has been one of the most rewarding experiences of my life. As an arts advocate, I am so inspired by the changes art is making in my community and this is one of the reasons why public art and street art are so important. It gives immediate access to art for the public. We are also in a time of political upheaval and for some people, including myself, this has been a difficult time for our country. To welcome people to my part of the world is my form of resistance. We can unite each other through art and as anyone who has studied art history knows, the arts have gotten us through some dark times.
If I could do anything differently, it would be to make certain all the artists travel here at the same time. When we had Dan Witz here last summer, he talked about what he called artist equity, meaning that festivals for him provide an opportunity to work with artists that he has not worked together before and that always influences his decision to attend. One of my highlights from last summer was watching him and Blek le Rat work on separate installations on the same building.
I was almost as giddy as Dan was. Almost.
Martha Cooper standing with windows full of her images at the Rising Moon makers store. 20x21EUG Mural Project / 2018 Edition. Eugene, Oregon.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Broken Fingaz Animates Video by Beck & U2 2. ResistanceX in Bilbao, Spain
3. Jeremy Fish: “The Whine Train”
4. Dan Witz: “Punk And Freedom” from “Beyond The Streets”
5. Manifiesto #FaltenPintades
BSA Special Feature: Broken Fingaz Animates Video by Beck & U2
Israeli graffiti/Street Art/multi-dimensional art crew Broken Fingaz comes out swinging with this new fully animated video by U2, as remixed by Beck. Just goes to show you how graffiti is frequently a gateway drug to other creative pursuits. Beware!
“We used two animation techniques we never tried before,” they say as they describe the top shelf story-telling here, “the classic animation is made up of 1,200 (!) acrylic paintings and for the stop-motion we teamed up with the amazing ZAZ animation studio to create a world from plasticine.”
An instant animation classic, this is the first time the Tel-Aviv base Broken Fingaz Crew have used animation on any of their projects. Some how they managed to entangle love, death, sexuality, yearning, and hope into their narrative tale – breathing life into everything.
ResistanceX in Bilbao, Spain
The Basque country as depicted in Bilbao here is glitch-trippy and light-footed with a bucket full of sexy public art and murals. Produced to celebrate the 10th Anniversary of SC Gallery. They call it ResistanceX and this festival has brought over the years artists like Aryz, Axel Void, Fefe Talavera, Laguna, Remed, Eltono, Michael Grudziecki, Size Paredes, SpY, Suso 33, Velvet, and Zoer Frederick Battle.
Jeremy Fish: “The Whine Train”
Artist Jeremy Fish breaks it all down for you about the multiple references that were running through his mind and whiny heart when he created this commission for the Napa Valley Wine Train.
Dan Witz: “Punk And Freedom” from “Beyond The Streets”
Somehow they manage to jam his entire career into one minute. Did they mention he is a genius with oils and with light? Dan Witz is all of this and much much more.
Art and activism meet in the name of free expression in Spain in the next few days as a number of Street Artists, graffiti writers, and muralists join together for an upcoming action on July 21 and 22 to paint and protest. ‘No Callarem’ is the call in response to censorship – “We will not shut up”.
The collective says that “the only walls we can and want to admit are the ones that can be painted on, with freedom of action and expression, using criticism and satire.”
Here is a video announcing their manifesto and the upcoming days of paint and protest.
Clearly we cannot bury our heads in the sand anymore, for those of us who are tempted to. We try to make light of things here or at least add levity, but right now many of our community in NYC are desperately worried about family members in Puerto Rico, and aid has not been getting to them after the storm.
While it is a relief for many to find that Trump is actually one of the most ineffective leaders in terms of getting major legislation or many of the pillars of his anti-everybody-except-the-rich agenda passed, that same ineffectiveness puts citizens in harms way – as appears to be happening right now on that island of US citizens of 3.4 million. When 55% of the island doesn’t have drinkable water, you know a human disaster is close. Meanwhile Trump is tweeting from his golf course in New Jersey to insult a mayor on the island.
New York City Council Speaker Melissa Mark Viverito is on top of the situation but cannot countenance the response from the feds: “I wanna cry. This is worse, not better, 10 days in. And Sr. Trump’s fragile ego is what is driving policy. Criminal.” she says in her latest tweet
At the recommendation of Lee Quinones, a proud New Yorker, Puerto Ricano, and NYC train writer of the 1970s and 1980s – here are some charities you can contribute to:
Here’s our weekly interview with the streets, this week featuring Adam Fujita, CB23, Ces53, City Kitty, Dan Witz, Dirty Bandits, GIZ, Jazz Guetta, Kafka is Famous, MRVN, Myth, NeverCrew, Smart, Stray Ones, and Such.
New York’s jewel of free theater in Central Park is actually trending on Twitter, believe it or not. The production of Julius Ceasar features a Trumpian-looking lead character and it has inflamed people who haven’t heard of Shakespeare – which means a large swath of pretty/handsome bobble heads on US TV. The cautionary story actually has referenced modern leaders in productions historically in theaters in recent years and as a rule. There is even a story about Orsen Wells directing a version with actors in Nazi uniforms in the 20s or 30s.
And in other polarized news, the planned protest (and performance piece) in front of the Houston-Bowery wall is still scheduled for this afternoon. Artists and organizers have been reaching out to tell us about the protest along with possible other demonstrations which have been kick-started by the controversial choice of artist David Choe by Goldman Arts to paint the wall. Rape, Rape Culture, the normalization of sexual abuse, predatory behavior and attitudes toward women, and related issues will be in the discussion due to Choe’s own involvement in a possible rape scenario by his own account and his subsequent muddy explanations about it. Choe’s public apology yesterday via Instagram may have altered the calculus slightly but the bigger issues still prevail and many opinions on social media still question Goldman’s silence on the topic. Meanwhile, the wall has pretty much been dissed completely.
Finally, the drama of the Welling Court mural festival, which we actually do not know any drama about and which brought all sorts of community murals to this Queens working class neighborhood for the 8th year last weekend. We got out there to shoot a number of the walls without the crowds for you this week, and here’s a selection below.
So here’s our weekly interview with the streets, this week featuring A Visual Bliss, ASVP, Below Key, Cey Adams, Crash, Daze, Dek 2 DX, Dennis McNett, Dirt Cobain, Eelco Virus, Eyez, EZO, Ghost Beard, I am Eelco, John Fekner, Jonny Bluze, LMNOPI, NYC Hooker, Patch Whisky, Queen Andrea, Ramiro Davaro-Comas, Rob Sharp, Sean 9 Lugo, and Toofly.
Arts and artists get very little or no financial or institutional support from the federal, state, or local government in the United States, which is always a shock for Europeans to learn – and many won’t believe it when you tell them. This website, for example, receives no funding or grants from any organization despite publishing daily for almost nine years, and it has remained non-commercial during that entire time.
The Raw Project in Wynwood, Miami is the initiative of Robert De Los Rios, who partnered with private contributors, did fundraising, and asked a coalition of artists to paint the walls of the schools for the kids.
Part of its success of course is due to the status of the Wynwood neighborhood as a magnet for graffiti and Street Artists over the last decade or so. Already coming to Wynwood for Art Basel or to partake in a related art event, these artists have given of themselves and their talents to create a completely unique and dynamic environment for students to learn and grow up around.
Of course it was not all about spectacle this week in Miami, but about tribes and community as well. Many conversations with artists on the street and at openings revolved around this chaotic/fearful time we are living in – and it seemed like if you weren’t discussing the incoming president and offering predictions about what fresh hell this time will bring, you were trying hard to avoid the topic altogether.
There were talks this week about activism or the lack of it on the street, relevance of the work of artists in the body politik, paint supplies, ladders, Tindr, licensing, how Pete Rock and CL Smooth blew everybody away late Friday night with the Bushwick Collective, how murals are not to be confused with Street Art and Street Art is not to be confused with graffiti and of course the evergreen “Is Street Art Dead?” – which has popped up as a topic about every 3 months since it was coined. Answer: no sight of it yet, but we’ll let you know if it stops mutating and shapshifting and re-defining itself. Promise
Without repeating some of the images from our previous postings this week, here’s our weekly interview with the street, this week featuring 2Alas, Bordalo II, Caratoes, Cleon Peterson, CRASH, Dan Witz, D*Face, Don Rimx, Evoca, Fluke, Hoxxoh, Jules Muck, L’Atlas, Okuda, Pez, Shepard Fairey, Shida, Shok1, and Sipros.