All posts tagged: Daniel Feral

Sneak Peek “Concrete to Data” at Steinberg Museum

Sneak Peek “Concrete to Data” at Steinberg Museum

Curator and artist Ryan Seslow has pulled off an overview of art on the streets and the practices employed, minus the drama. So much discussion of graffiti, Street Art, and public art practice can concentrate on lore and turf war, intersections with illegality, the nature of the “scene”, shades of xenophobia and class structures; all crucial for one’s understanding from a sociological/anthropological perspective.

“Concrete to Data”, opening this week at the Steinberg Museum of Art on Long Island, gives more of the spotlight to the historical methods and media that are used to disseminate a message, attempting to forecast about future ways of communicating that may effectively bridge the gap between the physical and the virtual.


Joe Iurato. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

Seslow has assembled an impressive cross section of artists, practitioners, photographers, academics, theorists, and street culture observers over a five-decade span. Rather than overreaching to exhaustion, it can give a representative overview of how each are adding to this conversation, quickly presenting this genre’s complexity by primarily discussing its methods alone.

Here is a sneak peek of the the concrete (now transmitted digitally); a few of the pieces for the group exhibition that have gone up in the last week in the museum as the show is being installed.


Chris Stain. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


Cake. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


Lady Pink at work on her mural. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


John Fekner. Detail of his stencils in place and ready to be sprayed on. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


Henry Chalfant. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


Billy Mode. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


Oyama Enrico. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


Col Wallnuts. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)


CONCRETE to DATA will be exhibited at the Steinberg Museum of Art, Brookville, NY January 26th 2015 – March 21st 2015.

Opening Reception – Friday, February 6th  2015 6PM -9 PM 

Follow the news and events via –

Follow @concretetodata on Instagram – #concretetodata

Curated by Ryan Seslow@ryanseslow

Museum Director – Barbara Appelgate

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Gallery Brooklyn Presents: “Spectrum” A Group Exhibition (Brooklyn, NY)




Abstraction Through Spraypaint


Rubin, Hellbent, EKG, See One, Col


Opening: Saturday, July 27, 6-9pm Dates: July 27 – August 31, 2013


Gallery Brooklyn, 351 Van Brunt St, Brooklyn, NY 11231 p: 347.460.4063 |
Hours: Thu–Sat 12–6pm, Sun 12-5pm, & appointment.



New York City, NY — On Saturday July 27, five street-oriented painters will exhibit together under the rubric of abstraction at Gallery Brooklyn in Red Hook. For these artists, abstraction as a formal aesthetic mode functions like a prism that fractures graffiti and street art into multiple facets creating a spectrum of mutation. This exhibition introduces original specimens of hybridization, re-creation, and singularity into the taxonomy of art on the streets and in the gallery.


Each artist has created a unique, progressive body of work due to their allowance for porous boundaries between the visual vocabularies and techniques of graffiti, street art and fine art. Emphasizing their roots as graffiti writers, Rubin crafts wildstyle abstractions into graphic geometric deconstructions, whereas Col sculpts and weaves his into weighted three-dimensional shapes and flowing, entwining color fields. Graffiti artist See One does away with letterforms completely and creates tumultuous compositions of expressionistic techniques and sharp geometric shapes, a series dubbed “shards.” Hellbent utilizes stencils, a staple tool for street artists, to compose geometric compositions out of patterns that create an impression of a collage of lace and fabrics. EKG uses an “expressionistic pixilation” to compose a space from which to transmit a network of primitively rendered marks.


Painters have struggled to capture pure visionary aesthetic forms since the turn of the twentieth century. This pilgrimage along the holy path of Abstraction achieved its most widely-recognized pinnacle of experimental success and international popularity in the mid-twentieth- century with Abstract Expressionism. As we pass into the twenty-first century, another wave of renewed activity and interest in abstraction has surged within the Graffiti and Street Art movements, as well as in the fine art community and institutions. Since 2010, a living archive of Abstract and Progressive Graffiti, has been supporting established painters, inspiring developing ones, and attracting a growing interest from the public. Collectives that center around abstract and progressive graffiti have formed or become active again, such as Agents of Change, Transcend Collective, and Ikonoklast Movement. In 2011, the book Abstract Graffiti by Cedar Lewisohn and the ArtNews article Beyond Graffiti by Carolina Miranda were published. In 2012, MoMA opened their huge exhibition, Inventing Abstraction, a historical survey of the formative years from 1910-25. also presented Geometricks, curated by Hellbent, a large group exhibition of progressive graffiti and street art. This year the Guggenheim is currently displaying New Harmony, another survey of abstraction from 1919-1939. And through June 20th at The Hole gallery, Xstraction is the third iteration in a series of exhibits since 2008 that have focused on contemporary abstraction.


Lifelong Harlem resident Royce Bannon has been drawing his infamous monsters on the streets of NYC for over a decade. He recently was honored with inclusion in the city-wide art installation project Sing For Hope. This project involved painting one of 88 pianos, which were then installed around the five boroughs of NYC. Royce also currently writes a column for The Source magazine and has curated many other exhibitions including ones at The Woodward Gallery, powerHouse Arena, and 17Frost. [ Text by Daniel Feral ]

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Soze Gallery Presents: “Graffuturism” A Group Exhibition (Los Angeles, CA)

Graffuturism, opens in the new Soze Gallery location at 2020 E 7th St, Unit B, Los Angeles, CA, 90021.

Since Graffuturism’s inception as a public blog and private Facebook group in 2010, there have been two major group exhibitions that featured associated artists: “Rudimentary Perfection” in Glasgow and “Futurism 2.0″ in London. Both were successful in their curatorial intentions and created a sense of community and motion for the movement. Soze Gallery also has been an early advocate hosting solo exhibitions in 2012 by Jaybo Monk, Moneyless, Remi Rough, Dale Marshall, and a two-man show with Augustine Kofie

and Jaybo. Recognizing the significance of the Graffuturists, Soze Gallery also presented the opportunity for Poesia to curate this exhibition, which he chose to simply call ““Graffuturism.” This exhibition has been eagerly anticipated as the first group show to be curated by Poesia, because he is the founder of and also a well-respected graffiti artist with a twenty-year history. Ending up in this unique dual position as artist and commentator, it has fallen on him to be the cultural instigator and diplomatic facilitator of this renewed interest, practice and discourse surrounding what he calls “Progressive Graffiti,” which has also previously been called “Abstract Graffiti.” At this juncture in the three-year history of the website, as well as in the thirty-year history of this over-looked aesthetic trajectory within the Graffiti movement, has become a hub and Poesia the dedicated and consistent chronicler and theoretician. With the internet as his podium and round table, he has been historicizing and canonizing these artists, young and old, who have been creating art outside the norms of traditional graffiti, esoteric forms of painting and sculpture that veer outside of the proscribed boundaries into the experimental, the abstract, the poetic, and the hybrid.Artists that fall under the term Progressive Graffiti are generally innately gifted draftsmen, who aspire to a Master’s Level at their craft. Overall this movement could be classified as a “High Style New Millennial Aesthetic.” The art they produce is derived from a dialogue that ricochets around within a pin-ball matrix constructed of coordinates lying between the historical and the contemporary, including high and low influences, fine art and graffiti studies, scholarly and street pursuits, intellectual and visceral marks. Whether the resulting output is graffiti, painting, murals, design, sculpture or installations, the pictorial elements are mutated and transformed through each artist’s unique vision into a personal vocabulary of cross-pollinated styles. Whereas the Street Art movement of the mid-2000s tended to focus on figurative stencils and wheat-pastes, this group of artists on the whole is more concerned with hands-on, singular creation, whether within an academic or street setting. Unlike Post-Modernism, the resultant overall aesthetic is a seamless personal statement, not a collaged juxtaposition of historic styles.

Because of Poesia’s dual roles within the movement, he as been in the unique position to attract this international line up of esteemed contemporary artists, which includes many of the significant forefathers from the seventies and eighties. As a result, by including so many of these original Masters, he has created a chronological continuum within the line up, which defines this historical thread from its earliest days. Therefore this group show has developed into a “survey” that historicizes and canonizes each artist within the Progressive Graffiti thread, as well as within the larger Graffiti movement. One of the earliest, and possibly the most influential to most these artists, is Futura. In the early eighties, after a ten-year career as one of the early seventies writers, he broke away from one of graffiti’s most sacred traditions, the letterform as subject matter. At that point he began to paint in what became known as an “Abstract Graffiti” style. With his groundbreaking subway whole-car “Break,” as well as on the canvasses he was painting at the time, he pushed an atmospheric geometric style to the forefront of his work and began to experiment with a wide array of experimental spray can techniques that had not been seen before.

Around this same time, other early NYC writers, who had also started their careers in the seventies, began to experiment with new hybrid directions not based in pure graffiti traditions. In 1985, Carlos Mare began to combine abstraction and Wildstyle within the medium of sculpture, which over the past couple of decades has expanded to include other mediums under the term Urban Modernism. Haze also began to cross over into the fine art domain and over the years has created a body of work that might be referred to as Iconographic Minimalism. Doze Green was also a significant member of the early community of writers who crossed over with an experimental style that included the use of archetypal icons, poetic typography, figurative motifs and painterly styles. West was also another early intrepid explorer, adopting a gestural expressionist style, applying the muscle memory of train and wall painting to the canvas with his long whole-body marks and splashy, dripping strokes.

This exhibition has also united artists from the second generation who took off along the path forged by those early pioneers. These artists started to formulate their progressive aesthetics in the late eighties, such as Delta, the European three-dimensional geometric letterform pioneer turned pure abstractionist; New Yorker Greg Lamarche aka SpOne, who has been able to establish an abstract typographic collage aesthetic parallel to his foundation as a graffiti writer obsessed with the hand-written letterform; Part2ism was one of the earliest UK experimentalists in Hyperrealism, as well as co-founder of the Ikonoklast Movement in the UK with Juice126, which also came to include abstract colorist Remi Rough in the early-nineties.

Also beginning in the late eighties on the West Coast of the US, the Wildstyle-reductionist Joker was one of the first graffiti artists to paint purely geometric abstractions and pushed for its acceptance within the graffiti community by founding the Transcend Collective in 1991 with She1, who was an abstract writer in the UK. Poesia, became a key member of the collective in 1995, exploring a more hybrid, expressionistic approach to Wildstyle, as well as taking it into pure abstraction, which he is currently pushing in new directions, as well as reaching back to the Baroque painters and reinterpreting their masterpieces as graffiti-dissected new millennial re-paintings. Over in Europe, first in Paris then Italy during the same time period, Marco Pho Grassi started out as a wall and train painter but quickly started mixing in abstraction and more painterly expressionist techniques much like Poesia, yet totally unknown to each other. Then in the mid to late nineties, back in the US along the West Coast, other artists with alternative, experimental mind-sets, who were aware of recent developments, were coming out with brilliant, refined hybrid styles, such as Augustine Kofie and El Mac.

Artists such as these had been forced to skirt the edges of graffiti culture as well as the fine art world for the past ten to thirty years. Due to the esoteric nature and hybrid aesthetics of their graffiti-based paintings, and their disparate locations around the globe, they had no way to band together or find an audience to support them because of the lack of enough interest in their local communities for their esoteric and singular aesthetics. On the other side of the tracks, they were also ignored by the fine arts establishment because of their association with graffiti culture and for unabashedly continuing their gallery-related practices under the term Graffiti, which they still did not entirely leave behind. But, as the world population grows and becomes more connected through the internet, these geographically disparate artists have found it easier to come together, work together, and share global opportunities with each other, rather than being confined to tiny local communities.

Now, as this historical thread comes of age and recognizes itself in the mirror of history and on the faces of its youth, as the pioneers of the culture are canonized and the younger artists are united, there are many more opportunities afforded them within the design market, auction houses and fine art world, as these communities continue grow in their recognition of the cultural value and influence of Graffiti and Street Art, as the most prevalent styles and art movements in the late twentieth and early twenty-first centuries. This particular Graffuturist group exhibition, as well as the previous two, are significant steps in the growth of awareness and activity. This is a significant exhibition because it connects all the artists across the continuum of this overlooked historical trajectory back to these forefathers to finally make the connections and give the recognition due to Progressive Graffiti in all its current manifestations and their historical referents.

Across the board, 2012 has been an explosive year for Progressive Graffiti. The synchronicity of all these group exhibitions and solo shows can only emphasize that there is increased activity by the artists and an amplified interest in the audience. Futura had his first solo show in ten years, which attracted a massive turn out of the wealthy and the fashionable, as well as the highly-respected hardcore members of the graffiti community, which is a testament to his growing importance outside the culture, as well as cementing his stature within it. Following on the heels of the success of his solo show, Futura exhibited with two other crucial esoteric Old School Masters, Rammellzee and Phase2, in conjunction with the Modernist Master Matta in the exhibition “Deep Space” in NYC. This exhibit was particular significant because it canonized these three graffiti artists within the fine art pantheon by successfully illustrating their undeniable aesthetic accomplishments in relation to Matta’s masterworks. Rammellzee also had a banner year, being included in the “Vocabularies Revitalized” exhibition at the MoMA, as well as being given a complete retrospective at the Children’s Museum, both of which were in NYC, not even to mention his solo show at the Suzanne Geiss gallery in 2011 called “The Equation.”

In London, also significant in its curatorial aims to canonize and historicize, as well as it’s grand scope, was “Futurism 2.0,” which compared and contrasted the Futurists and the Graffuturists in an exhibition, book and documentary. Another group show of significance was’s exhibition “Geometricks” which held high the torch of Abstract Graffiti in it’s title and Progressive Graffiti in its roster, which included Hellbent (the curator), Augustine Kofie, Drew Tyndell, Momo, OverUnder and SeeOne. One of the most significant of the many murals and “in situ” collaborations painted this year by Graffuturist-related artists was the abstract mural painted on the Megaro Hotel by Agents of Change members Remi Rough, Augustine Kofie, Lx.One, and Steve More, which is currently the largest mural ever painted in London. Also, a slew of solo and duo exhibitions opened every month around the world by many of the artists associated with Graffuturism and Progressive Graffiti: Poesia, Dale Marshal, Part2ism, Remi Rough, Augustine Kofie, Jaybo Monk, Mark Lyken, Moneyless, Carlos Mare, She One, Matt W. Moore, Jurne, Greg Lamarche, Delta, Hense, Rae Martini, Marco Pho Grassi, and Graphic Surgery. In order to see the full scope of activities though, one would have to go back through for a complete review.

Above and beyond the growing interest in Progressive Graffiti is the expanding interest in the over-all culture as well during these first two decades of the new millennium. Massive museum exhibitions encompassing the full spectrum of subcultures and historical threads within the Graffiti and Street Art cultures have also opened to wide acclaim. The success of ticket sales for “Street Art” in 2008 at the Tate Modern in London and “Art in the Streets” in 2011 at the MOCA in Los Angeles revealed the mass cultural interest of these art movements and all the art forms that are connected to them. The fact that these two exhibitions happened at all signifies the growing acceptance by the fine art community as well.

These museum exhibitions, as well as the trend towards many other smaller historical exhibitions, such as “Deep Space” and “Futurism 2.0” at the end of 2012, and “Pantheon: A history of Art from the Streets of NYC” in 2011, indicate a new interest in the study of the history and cultural significance of these movements. Other indicators are the release of high quality scholarly books, articles and movies, such as “Abstract Graffiti” by Cedar Lewisohn in 2011; “Beyond Graffiti” published in ArtNews in 2011 by Carolina Miranda; the 2005 documentary “Next: A Primer on Urban Painting” by Pablo Aravena; and “The Feral Diagram 2.0: Graffiti and Street Art” published in 2012 by Daniel Feral. These are all testament to the growing enthusiasm of scholars, historians, and theoreticians to examine, define and record the fifty year history of graffiti and street art, and recently in particular the Progressive Graffiti thread. Like any misunderstood movement before these, such as rock’n’roll, comic books, and cinema, eventually the art forms, the audiences and the scholars united to finally recognize the movement’s undeniable cultural value, relevance and resonance in all their forms from the simple and visceral to the esoteric and intellectual.

Text by Daniel Feral

On Friday, Dec 14, 2012, the eponymously-titled “Graffuturism” exhibition curated by Poesia, the founder of, opens in the new Soze Gallery location at 2020 E 7th St, Unit B, Los Angeles, CA, 90021.

The complete artist list in alphabetical order by first name is as follows: 2501, Aaron De La Cruz, Augustine Kofie, Boris “Delta” Tellegen, Carl Raushenbach, Carlos Mare, Clemens Behr, Derek Bruno, Doze Green, Duncan Jago, DVS 1, El Mac, Eric Haze, Erosie, Franco “Jaz” Fasoli, Futura, Gilbert 1, Greg “Sp One” Lamarche, Graphic Surgery, Hense, Hendrik “ECB” Beikirch, Jaybo Monk, Joker, Jurne, Kema, Kenor, Lek, Marco “Pho” Grassi, Matt W. Moore, Moneyless, O.Two, Part2ism, Poesia, Rae Martini, Remi Rough, Samuel Rodriguez, Sat One, Sever, Shok-1, Sowat, Steve More, West, Will Barras.

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Making Deals Zine and Trumbull Studio Present: RELIEF: Silent Art Auction & Raffle Benefit. (Brooklyn, NYC)


Making Deals Zine and Trumbull Studio presents:RELIEF: Silent Art Auction & Raffle Benefit to support New York Residents Affected by Tropical Storm SandyFriday, November 9th, 2012

Silent Auction & Raffle begins at 6 pm – Final Drawing at 9:30 pm
@ Trumbull Studio, 143 Roebling St, 3rd Floor, Brooklyn, NYA huge group of established and emerging urban artists will have work for sale, and all proceeds will support LOCAL charities. Our goal is to help our fellow New Yorkers who have been hardest hit from areas like Far Rockaway, Staten Island, Breezy Point, and Red Hook. This is going to be a great event and all proceeds from the sale of your donation will go to our designated charities for the victims of Hurricane Sandy: New York Cares (, Red Hook Initiative ( and the Red Cross ( who have generously donating work for sale include (list is not yet final):

Abe Lincoln Jr.
Adam Lawrence
Aimee Lusty
Alexander Heir
Alexander Richter
Anthony Sneed
Brandon Haynes
Cash For Your Warhol (The Collection of Brooklyn Street Art)
Daniel Feral
DB for Stuck-Up
Emma D.
Gloomer KTS
Howard Shindler
Ian (Pop Mortem) McGillivray
Isabel LaSala
James Ivan Bailey
Jason Mamarella
Jon Bocksel
Jon Handel
Jowy Romano (Subway Art Blog)
Julian Gilbert
Kevin Foxworth
Lily Staley
Matt Dobbs
Matthew Hoffman
Martha Cooper
Mike Ion
Miss Night Catcher
Pawn Works
Ribo 22KIDS
Scott Meyers

This is Awkward / Russell Lee
Zato One
and more…


KosbeThere are several ways to donate at the event:
– An art raffle will be held where patrons have a chance to win artwork of their choice for as little as a $5 donation! The drawing is scheduled to be held at 9:30 pm and winners can take home their new artwork the same night.
– Select artwork will be up for silent auction. Bidding is scheduled to end at 9:30 pm.
-Blind monetary donations and credit cards will also be accepted.
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Fun Friday 06.01.12

1.    Bushwick Open Studios Starts Party >> Live Street Artists Doing Live Street Art! (Brooklyn)
2.    El Celso and La Luz (Brooklyn)
3.    Don Pablo Pedro at English Kills (Brooklyn)
4.    Street Art Pop Up Store (Brooklyn)
5.    Bishop 203 “Happy Torments” (Brooklyn)
6.    Dennis McNett Invites You to the Wolfbat Studios (Brooklyn)
7.    Pink Cloud (Brooklyn)
8.    Olek at Flanders Gallery (Raleigh, NC)
9.    Darkclouds does the Same Old Same Old in Boston
10.    Jef Aerosol at 30 (France)
11.    “Pandamonium” at Signal Gallery in London
12.    Herakut’s “After The Laughter” at London’s Shea & Ziegler Gallery
13.    Jon Burgerman’s “I Want To Eat Myself” (Jersey)
14.    Black Book Gallery hosts Eelus “Curious” tonight in Denver, CO.
15.    L.I.C.K. Gallery “4 of a Kind” w/ REGA, EVOKER, MikeDie and Chris RWK (Queens)
16.    Andreco and Ericailcane in Morocco (VIDEO)
17.    Pixel Pancho in Mexico City with MAMUTT Arte by Filmaciones de la Ciudad (VIDEO)

In NYC there are certain rites of Summer that mark the onset of the new season. The beaches get cleaned of condoms and medical waste every year just in time for Memorial Day Weekend for example. Children playing in spraying fire hydrants on hot days – always splendid.

Water related activities remind us of another favorite Summer rite of hormones; Wet T-shirt contests! Also, saucy libertinas with short, fresh sun dresses going up or coming down the subways’ stairs on a windy platform without knickers, that’s always a pruient plus. And shirtless boys showing off by doing tricks on bikes, skateboards, or anything really – generally making fools of themselves- another Summer tradition.

And of course Bushwick Open Studios.  This is the 6th Edition and we have loved every one.

Someone told us there are 500 open studios this year;
a. Bushwick has arrived, but you knew that
b. Artists can’t do math so don’t trust any numbers you hear for the next two days. Or is that three days?

Naturally, there will be plenty of Street Art as the scene continues to flourish and here are our recommendations …

Bushwick Open Studios Starts Party >> Live Street Artists Doing Live Street Art! (Brooklyn)

Street Artist Gilf! curates the BOS official opening reception with fellow Street Artists Bishop 203, QRST, Sheryo, The Yok, Willow, ND’A, Hellbent and Gilf! getting up live on the street. Dancing shoes are recommended. Also, clif bars.

Gilf! on the streets of Bushwick. (photo © Jaime Rojo)

For more information regarding the Official Opening Party click here.

El Celso and La Luz

El Celso invites you to his studio to give you a personal demonstration of his project La Luz.

El Celso on the streets of Williamsburg. (photo © Jaime Rojo)

For further information on El Celso’s studio click here.

Don Pablo Pedro at English Kills

Loveably stylish and morally degenerate Don Pablo Pedro will be showing at English Kills Art Gallery at the Annex.

Don Pablo Pedro on the streets of Bushwick. Detail. (photo © Jaime Rojo)

For further information regarding this show click here.

Street Art Pop Up Store

Robin Grearson presents a Street Art Pop Art Store with artists including ASVP, Bethany Allard, Chris Stain, Criminy Johnson, Daniel Feral, Elle, Enzo & Nio, Gilf!, Hellbent, Jon Burgerman, LNY, Moustache Man, Nathan Pickett, ND’A, QRST, Quel Beast, Royce B.

Enzo & Nio on the streets of Bushwick. (photo © Jaime Rojo)

For further information regarding Street Art Pop Up Store click here.

Bishop 203 “Happy Torments”

Sharp, bold, independent Bishop 203 is one of Brooklyn’s Angels.

Bishop 203 on the streets of Bushwick. (photo © Jaime Rojo)

For further information on Bishop 203 show click here.

Dennis McNett Invites You to the Wolfbat Studios

Dennis McNett, the master printer, puppet maker, pied piper, and maker of magic has scared many with his Street Art creatures popping out as you turn a corner. Now you are invited into the magical kingdom of Dennis McNett Wolfbat Studios. You won’t be disappointed.

Dennis McNett on the streets of Williamsburg. (photo © Jaime Rojo)

For further information on Dennis McNett’s Wolfbat Studio click here.

Pink Cloud

Visit Pink Cloud, Abel Macias’ studio and you might end up with free art. Who knows?

Pink Cloud on the streets of Williamsburg. (photo © Jaime Rojo)

For further information on Pink Cloud’s studio click here.

BOS has so much more than we can list here; Performances, music, fashion and a plethora of studios to visit. For a complete listing of events, calendar, schedules and BOS Directory click here.

Olek at Flanders Gallery (Raleigh, NC)

Well-behaved women rarely make history and Street Artist Olek is a prime example of that axiom.  She’s part of a group exhibition aptly entitled “Make Ends Meet” at Flanders Gallery in North Carolina. Show opens today.

Olek (photo © Jaime Rojo)

For further information regarding this show click here.

Darkclouds does the Same Old Same Old in Boston

The New York Street Artist Darkclouds travels to Beantown to open a new show at the Lot Gallery. Check it. “Same Old, Same Old”.

Darkclouds (photo © Jaime Rojo)

For further information regarding this show click here.

Jef Aerosol at 30 (France)

Street Art Icon and Master, Jef Aerosol celebrates 30 years of stencils at Collégiale Saint-Pierre-Le-Puellier at Mairie d’Orléans, France.

Jef Aerosol on the streets of Bushwick. (photo © Jaime Rojo)

For further information regarding this show click here.

Also happening this weekend:

“Pandamonium” A Group Exhibition at Signal Gallery in London is now open to the public. Click here for more details on this show.

Herakut‘s new solo show “After The Laughter” at London’s Shea & Ziegler Gallery is now open to the public. Click here for more details on this show.

Jon Burgerman‘s new show “I Want To Eat Myself” opening tonight at Carmine’s Pizza Factory in Jersey City, NJ. Click here for more details on this show.

Black Book Gallery hosts Eelus with a solo show titled “Curious” opening tonight in Denver, CO. Click here for more details on this show.

The new group show at L.I.C.K. Gallery in Long Island City, Queens titled “4 of a Kind” includes REGA, EVOKER, MikeDie and Chris RWK and it opens tomorrow. Click here for more details on this show.

Andreco and Ericailcane in Morocco (VIDEO)


Pixel Pancho in Mexico City with MAMUTT Arte by Filmaciones de la Ciudad (.


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Robin Grearson Presents: “Street Art Pop Up Store” During BOS 2012 (Brooklyn, NY)


Bushwick Open Studios’ Street Art Pop-Up Store: A curated selection of affordable art by street artists & local favorites, June 1-3, 2012.
Brooklyn, NY May 14, 2011—Catch a curated collection of super-affordable artwork and artist-designed merchandise by well-established and emerging Brooklyn artists at Bushwick Open Studios June 1-3. Robin Grearson transforms her writing studio into a pop-up store with prices starting at free; nothing in the store will cost over $300. The artist roster promises to make the Street Art Pop-Up Store Bushwick’s must-see open studio for street-art fans looking to collect original drawings and paintings, prints, ‘zines, posters, and more. Many pieces from more than 18 artists will be exclusive to the store. Check out work from ASVP, Bethany Allard, Chris Stain, Criminy Johnson | QRST, Daniel Feral, Elle, Enzo & Nio, General Howe, Gilf!, Hellbent, Jon Burgerman, LNY, Moustache Man, Nathan Pickett, ND’A, Never, Quel Beast and Royce B.
For more info:
Arts in Bushwick,
Open to the public during Bushwick Open Studios, June 1-3, 2012
Friday, June 1: 2-7 PM
Saturday, June 2: 12-6 PM
Sunday, June 3: 12-7 PM
174 Bogart Street, #210
Brooklyn, NY 11206
L train, Montrose or Morgan stops
Selected exclusives:     
The return/debut of Moustache Man: Get your very own moustache! The Street Art Pop-Up Store is the first venue anywhere to carry (legal) work by the one and only “Moustache Man,” Patrick Waldo.
The debut of Enzo & Nio: The Street Art Pop-Up Store is the first venue to offer prints for sale by Brooklyn’s mash-up darlings, Enzo & Nio.
New Quel Beast series & ‘zine:  Quel Beast returns to Bushwick Open Studios with several new paintings from his “Selfish Portraits” series. Priced at $300 during BOS only. Also look for the premiere of his first-ever ‘zine.
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Radical! A Strange Set of Rules for Being Abrasively Pleasing

Today we are pleased to bring you two talented players on the Street Art scene, brought together for the occasion of a BSA interview. Daniel Feral guest writes today – a more dedicated and insightful analytical mind on today’s street action would be difficult to find. His subject today is one of the newer street art talents we have had the pleasure of following for for his abstractly entertaining mind and sharp skillz, Radical! Our sincerest thanks to both of them for their contribution to the BSA family.

Many paradoxical words and conflicting terms can be found within and applied to Radical’s art: Cute and disturbing. Humorous and distraught. Compassionate and brutal. It’s a kind of Whimsical Hardcore. Hello Kitty Horror. Rural Graff.1 Underground Street Art Cartooning.

Yet, even though this string of vocabulary is conflicted as it proceeds to connect, the chain still contains a pulse of veracity. When first approaching Radical’s murals or gallery work, the color palette and cartoony style betray and instill a sense of fun and frivolity. On closer examination the ragged line, pock-marked surfaces, grimy found materials, and gory scenarios unsettle at a deeper level. This kind of contradiction within the elements of style and tone belie a poetic voice that entertains as well as stimulates further reflection.

Radical! (photo © Jaime Rojo)

The paintings are full of personal themes and motifs that will also be read as cultural commentary. As an example, in a video2 made during his first show in NYC at the Munch Gallery in 2011, Radical shares that he was diagnosed as having ADHD in kindergarten and since then has been on medication for it. So the consistent recurrence of capsules throughout his work is an expression of his personality and part of where the art comes from. Of course, in public on a wall or canvas the pills will be seen as symbols to be analyzed and interpreted through a societal lens as metaphor. This is where the poetry of his imagery comes into play with multiple interpretations bulging within the imagery, kicking like embryos in a womb. Are the pills just our sedatives or our salvation? Is science advancing our cause as aspirational animals or mutating us into empty borgs? Are they a new tool, like the discovery of fire, that will immolate or protect us?

Radical! (photo © Jaime Rojo)

Utilizing elements of graffiti and street art, illustration and painterly expressionism, cartooning and fable, Radical parades a cast of animals and humans, sometimes one and the same, marching, dancing, limping, crawling, swimming, through a dystopian, rurban3 American landscape where a visionary disillusionment and painful joy reign. These ragged and damaged looney toons literally are the walking wounded: missing limbs, vomiting their own insides, swimming in pills, spinning their heads on their necks like tops. They struggle with existence and yet seem oddly adapted to it and happy about it.

Radical! (photo © Jaime Rojo)

The following interview with Radical and the photographs of his art reveal a young, fanciful and thoughtful man with a high level of facility at his craft. He has found a strong visual voice that has already resonated quickly through the street art and gallery communities. At the end of this interview and in another,4 he has expressed his desire to paint an oval-shaped water tower like a cheeseburger. Maybe it seems like a joke, but we here at Brooklyn Street Art are taking it as a serious request and ask that someone step up to provide just such a canvas. We would love to see a pill burger water tower surveying over all!

Daniel Feral: Where did you grow up?
Radical! :
SLC Utah and Cleveland Ohio were my places of upbringing. They’re both really awesome.

Daniel Feral: When did you start making art as a kid?
Radical! :
Just really early on when I became physically capable of holding any sort of drawing utensil. Kind of a typical “artsy” kid thing. It has stuck with me my whole life from the beginning. It’s the one thing that hasn’t come as some sort of fad or phase in my life.

Radical! (photo © Jaime Rojo)

Daniel Feral: When did you start doing art on the street?
Radical! :
Around the end 2006.

Daniel Feral: Did you study art in high school or college?
Radical! :
Currently studying right now. High school art classes were fun but I never really took them too seriously, not to say that they weren’t an important asset to where I am with my creative pursuits today.

Radical! (photo © Jaime Rojo)

Daniel Feral: What other kinds of things did you do or were interested in that influenced you as a person and artist?
Radical! :
As with a lot of people, music and skateboarding etc. I got a lot of influence from album artwork by people like Raymond Pettibon. I think another great influence on me as an artist and a person was my family and the way I was raised. Growing up, me and my brother weren’t allowed to have video games and many of the “easy ways out” parents would give children to satisfy them. This led to me being outside playing a lot, and with what we had we would always be using our imaginations. I feel like this type of exposure to my surroundings has influenced me greatly as a person and an artist. I still have a desire to creatively interact with my environment to this day

Daniel Feral: Do you feel allegiance to graffiti or street art? Is there a distinction for you?
Radical! :
Having been involved in both areas, I have come to have a different kind of love for each. I can also see why writers would hate street art. The subject of defining the two is very difficult for me. I still can’t really decide if the distinction between the two should be made by the way it looks, or by the materials used and the context the act is done in. A good friend and I were having a conversation on whether the characters Twist spray-painted (illegally) were graffiti or street art. He claimed that they were street art because they were characters, where as I was claiming them to be graffiti because of the context they were done in such that they were done illegally with spray paint, and that graffiti didn’t have to be limited to being letters.

Some pretty clear differences to me is that graffiti really only speaks to other writers aside from it being done for self-satisfaction and visual ownership. To society it is just a look. That is why any random person probably wouldn’t know the difference between good graffiti and bad graffiti. As long as it looks like graffiti, it’s either offensive or dope to them. Street art has the potential to speak to everyone. It’s less exclusive in a sense. Also I don’t really consider graffiti to be art, nor would I want it to be art. Art is a whole other world of its own.

Radical! (photo © Jaime Rojo)

Daniel Feral: Why are the freights so important to you?
Radical! :
Because they rule.

Daniel Feral: Who are your running partners? Are you part of a crew?
Radical! :
Crews are cool. They can be another set of letters to get creative with and throw up than just your name. I dislike anything revolving around a gang mentality. That’s as far as I want to comment on a crew, ha ha. My partners and beloved friends all know who they are.

Daniel Feral: You seem to have a few different styles. How did that come about? Do they apply to certain kinds of situations or do you just enjoy exploring different aesthetic directions all at once?
Radical! :
I’d say they apply to certain situations. With my artwork the way it looks is something that has involuntarily developed over time. It’s a strange set of rules I’ve gradually developed. I’ve been refining some of the visual aspects of the work while trying to progress the imagery without having more than it needs through the ideas being explored behind it all.

Radical! (photo © Jaime Rojo)

Daniel Feral: You recently had a show in NYC. Where was it and how did it go?
Radical! :
Yes I did! It was at the Munch gallery on the corner of Broome and Ludlow in the Lower East Side. It was an extraordinarily awesome experience beyond what I had anticipated. It was also a great learning experience being able to display my work in a very professional setting. Also hopefully I will finally get a damn car from the work I sold.

Daniel Feral: What are your goals as an artist on the street?
Radical! :
To make people feel happy, or feel something at all. But also kind of the complete opposite of that. I feel like the street is a place where work can be, and at times should be abrasive. The idea of putting something on the street without ultimately giving a sh*t is pretty jolting in a way. Also, who is going to let you legally paint a giant uzi with a syringe coming out of it, no matter what the meaning behind it is, on their building?

Radical! (photo © Jaime Rojo)

Daniel Feral: What are your goals as an artist in galleries?
Radical! :
To further explore ideas as an artist, and to not be afraid to break the set of rules I’ve created for my work. Also I would like to slow down and focus longer on specific subjects rather than having a broad range of them. A big struggle I’m having with myself is wanting to keep the imagery engaging and visually pleasing without it obstructing the ideas being conveyed through my work.

Radical! (photo © Jaime Rojo)

Daniel Feral: Whats coming in the future?
Radical! :
More school, more work, hopefully more shows. And maybe someday I’ll get to paint an oval water tower to look like a giant cheeseburger.


Footnotes from the introduction:

1 An essay by Daniel Feral is in progress elaborating on this term, which stems from an analysis of the subcultural phenomenon that inspired it.

2 Quote from a video shot for Radical’s “Upside Down Frowns” exhibition, Munch Gallery, Oct. 21 – Nov. 20, 2011 posted on

3 Definition: (a) A mix of the rural and the urban. (b) Any geographic environment that is not a very large city, such as NYC, Philadelphia, LA, London, Tokyo, etc., in which its local residents attempt to apply mores or aesthetics of urban culture to similar elements in their environs. (c) A conceptual geographic space that contains the rural and the urban, and attempts to map the cultural interplay between the two. An example of a cultural telemetry that would be scored across this conceptual environment would be the trajectory of fetishism and dissemination of the now mythological graffiti subway culture in NYC in the 1970s by media, in particular the movie Style Wars, and its application to freight trains in a rural environment. These mythic ideals are then morphed to fit the various rural locales and become living metaphors of said NYC subway graff culture.

4 “Back Talk: A Conversation with Radical,” conducted by Steven P. Harrington and Jaime Rojo, appearing on the Juxtapoz website on Monday, August 8, 2011.


Contributing writer Daniel Feral

Daniel Feral is a writer, designer, historian and theoretician, who studied literature and writing in college. Afterwards, working as a designer by day, he continued his studies in the library and on the streets at night — where his friends were taking action to transmit the most direct, resonant and radical art at the turn of the new millennium. He has lectured at the School of Visual Arts, Brooklyn Academy of Urban Planning, University of Southern California and Remsenburg Academy of Art.

For more about Radical!

See his Flickr and Tumblr pages.

Back Talk with BSA and Radical on Juxtapoz

‘Upside Down Frowns’ exhibition at Munch Gallery Works by RADICAL! on Artfuse


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BSA in Print : Pantheon, The Book

Public, Urban, Street, Unauthorized, Permissioned, Private, Graffiti, Vandalism, Fine Art, Installation, Throwie, Portraiture, Poetry, Sticker, Sculpture, Aerosol, Line Drawing, Wheat paste, Yes. All of it applies and all of it is part of a large conversation that has been happening in New York for about 50 years, probably before that. The intersection of art and the street is by nature open to the interaction of every person. At its core is an expression that is human, and the reactions to it are likewise. ” – Steven P. Harrington and Jaime Rojo in PANTHEON: A history of art from the streets of NYC

An installation for “Pantheon”. Sadue, Gen2, Oze108, Droid, Goya, UFO, 907 Crew (Photo © Jaime Rojo)

When the erudite artist and alchemist Daniel Feral first talked enthusiastically in the summer of ’10 about his plans to mount a tribute to NYC graffiti and Street Art across the street from the Museum of Modern Art (MoMA) in ’11, we surveyed the large display windows of the former Donnell Library with their grand sweep on 53rd Street in Manhattan, and thought, “Why the Hell not?” As months rolled by and we continued to communicate with Feral and co-curator Joyce Manalo, the once medium sized exhibition grew larger in depth and scope – each time.

Truly a grassroots effort that was free of institutional or corporate restrictions, the PANTHEON show was funded by a modest Kickstarter campaign and administered under a non-profit. Each role and skillset was donated, as was all the labor – freely given by people involved in the scene. When the windows were unveiled in April of 2011 to the thousands of daily passersby, their Pantheon dream had grown into a full fledged installation of historic and current NYC graffiti and Street Artists, a 426 page tome of academic quality and behind the scenes insights, and the new iconic “Feral Diagram” that was quickly snapped up for display and sale at the historic “Art in the Streets” show in Los Angeles.

PANTHEON, the book, was one of three published works that BSA was honored to write for and provide images for in 2011. In the process of building PANTHEON, the exhibit, many new ideas and relationships were born, and like it’s muse – graffiti and all it’s cousins, it continues to organically grow in influence in New York and around the world. As 2012 begins, Daniel and Joyce are beginning a publishing and curatorial company, Pantheon Projects. Together in 2011 the artists, writers, historians, academics, curators, and photographers in PANTHEON told a story about an organic movement over time, helping us to understand this moment.

Cassius Fowler. Egypt (Photo © Jaime Rojo)

For our part, BSA furnished a chapter in the book about the first explosive decade of Street Art in the 2000s in neighborhoods where it was most impressive and untamed, especially Brooklyn. “PANTHEON: A history of art from the streets of NYC” allowed us to put in context the importance of the public sphere and how people create in it, whether commissioned, approved, or otherwise.

“Brooklyn Street Art (BSA) has been watching, recording, curating, interviewing, and interacting with this scene and its many players and passing on what we’ve learned to readers on our blog, which now number into the thousands daily. As experts in a field of many experts and opinion makers and fans, we like to assess and synthesize the messages and movements among the madness that is the “Street Art Scene”.  As artists and creative professionals in New York for 25 years, the primary draw for us is the creative spirit that is alive and well on the streets and its fascinating ability to continuously recreate itself without the dictate of any one overriding legislative body. This organic growth of art on the street is like seeing Spring eternally. It didn’t ask anyone for permission, and it defines itself. Un-bought and un-bossed, this is a truly free movement born of the people. Not that we are overly romantic about it, mind you.”

Overunder. No Touching Ground (Photo © Jaime Rojo)

Sadue, Gen2, Oze108, Droid, Goya, UFO, 907 Crew (Photo © Jaime Rojo)

PANTHEON was the group exhibition on Graffiti and Street Art that took place on April 2 – May 1, 2011 at the former Donnell Library across The Museum of Modern Art. Daniel Feral and Joyce Manalo Co-Curated this show with 33 participating which included Abe Lincoln Jr., John Ahearn and Rigoberto Torres, Adam VOID, Cake, Cassius Fouler, Darkclouds, Droid, El Celso, Faro, John Fekner and Don Leicht, Freedom, Ellis Gallagher, Gen2, Goya, Groser, Richard Hambleton, infinity, KET, LSD-Om, Matt Siren, NohJColey, OverUnder, Oze 108, QuelBeast, Royce Bannon, Sadue, Jordan Seiler, Stikman, Toofly, UFO and Vudu. 

The 426-page catalog is a hybrid of scholarly journal, popular magazine, and graff zine. 33 artists from the 1970s through today tell their own histories, in their own words and pictures, while local writers and photographers give an overview of the cultural milieu. The catalog includes a dedication to Rammellzee by Charlie Ahearn, essay on the Feral Diagram by Daniel Feral, Street Art in the 2000s by Steven P. Harrington with photographs by Jaime Rojo, in addition to 20 essays, 20 interviews and over 400 images from the efforts of over 30 individuals.


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The Prizes for the “BSA Holiday Giveway” 2011

This year for our Holiday Giveaway we are giving out the following gifts. Our winners holiday wishes will be unveiled during our “12 Wishes for ’12” from December 20-31, along with 7 artists wishes. Here’s a look at the prizes that were donated generously for the big giveaway.

PRIZE Descriptions



THE DEEEELUXE PLATINUM BUCKET: This prize will go to the first submission we pick. In addition to being featured on BSA “Twelve Wishes for 2012” this lucky reader will also get:

A copy of “Eloquent Vandals”, by Marte Jølbo and Martyn Reed.
Your very own “Ca$h for Your Warhol” sign, by Street Artist Hargo
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

THE GOLD PLATED BUCKET: This prize will go to the 2nd submission we pick. In addition to being featured on BSA “Twelve Wishes for 2012” this lucky reader will also get:

A copy of “Walls & Frames :Fine Art from the Streets,” by Maximiliano Ruiz
“Rocket Pop Boy”, a silk screen print by Snyder & Gregory Siff (of an edition of 21)
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

THE SILVER PLATED BUCKET: This prize will go to the next TWO submissions we pick. In addition to being featured on BSA “Twelve Wishes for 2012” these lucky readers will also get:

A copy of “Walls & Frames :Fine Art from the Streets,” by Maximiliano Ruiz
A copy of “PANTHEON:A History of Art From the Streets of NYC” by Daniel Feral and Joyce Manalo
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

THE BRONZE PLATED BUCKET: This prize will go to the final submission we pick. In addition to being featured on BSA “Twelve Wishes for 2012” this lucky reader will also get:

A copy of “Street Art New York,” by Steven P. Harrington and Jaime Rojo
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

SHOUT OUTs: Maximiliano Ruiz, Daniel Feral, Joyce Manolo, Adam Void, Snyder, Gregory Siff, Geoff Hargadon, Marte Jølbo and Martyn Reed. Your generosity is truly appreciated.

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BSA Holiday Giveaway for 2011 : Books, Print, Posters, Buttons, Zines

Dear BSA Readers: We’ve invited seven artists to participate in this year’s “Twelve Wishes for 2012”. That leaves 5 empty spots.  Now we would like to invite five BSA family like you to be a part of it — and win extravagant prizes for your efforts:

All you need to do is send ONE wish and ONE picture or image file to no later than midnight EST December 9 and we’ll pick the 5 winners. Read the rules at the bottom of this posting.

PRIZE Descriptions


THE DEEEELUXE PLATINUM BUCKET: This prize will go to the first submission we pick. In addition to being featured on BSA “Twelve Wishes for 2012” this lucky reader will also get:

A copy of “Eloquent Vandals”, by Marte Jølbo and Martyn Reed.
Your very own “Ca$h for Your Warhol” sign, by Street Artist Hargo
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

THE GOLD PLATED BUCKET: This prize will go to the 2nd submission we pick. In addition to being featured on BSA “Twelve Wishes for 2012” this lucky reader will also get:

A copy of “Walls & Frames :Fine Art from the Streets,” by Maximiliano Ruiz
“Rocket Pop Boy”, a silk screen print by Snyder & Gregory Siff (of an edition of 21)
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

THE SILVER PLATED BUCKET: This prize will go to the next TWO submissions we pick. In addition to being featured on BSA “Twelve Wishes for 2012” these lucky readers will also get:

A copy of “Walls & Frames :Fine Art from the Streets,” by Maximiliano Ruiz
A copy of “PANTHEON:A History of Art From the Streets of NYC”  by Daniel Feral and Joyce Manalo
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

THE BRONZE PLATED BUCKET: This prize will go to the final submission we pick. In addition to being featured on BSA “Twelve Wishes for 2012” this lucky reader will also get:

A copy of “Street Art New York,” by Steven P. Harrington and Jaime Rojo
The Pantheon Prize Pack, by Street Artists infinity and Adam Void
The GRAFFITI & STREET ART Feral Diagram Poster

RULES: You must write a wish for 2012 that you wish for yourself or others; extra points for personal and respectful. Image can be anything BUT you must hold the copyrights to publish the image. Image must be at least 740 wide, and can be in .jpg, .tif, .png, or similar format.  Submissions must be received no later than December 9, 2011. Please include your postal address to receive the prizes, and the name you would like us to be published as. Final selections are made by the editors and buckets are not included. We can’t wait to hear from you!!!

5 Examples from previous participants; Martha Cooper, Broken Crow, Jef Aerosol, Hellbent, Cake

SHOUT OUTs: Maximiliano Ruiz, Daniel Feral, Joyce Manolo, Adam Void, Snyder, Gregory Siff, Geoff Hargadon, Marte Jølbo and Martyn Reed. Your generosity is truly appreciated.

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Daniel Feral and Joyce Manalo Curate: “Pantheon: A History of Art From The Streets of New York City” (Manhattan, NY)


A history of art from the streets of New York City

Saturday, April 2, 5-7PM
Press preview with curators: 4-5PM
Exhibition runs April 2-17, 2011

chashama/Donnell Library Building
20 West 53rd Street, b/w 5th & 6th Avenue
New York, NY 10019 (across from MoMA)


Abe Lincoln, Jr., John Ahearn with Rigorberto Torres, Adam VOID, Cahil Muraghu, Cake, Darkclouds, Droid, El Celso, Ellis Gallagher, Faro, John Fekner, Freedom, Gen2, Abby Goodman, Goya, Groser, Richard Hambleton, infinity, Ket, Don Leicht, LSD-Om, Matt Siren, NohJColey, OverUnder, Oze 108, Quel Beast, Royce Bannon, Sadue, Jordan Seiler, Skewville, Stikman, Toofly, UFO, and Vudu.


NEW YORK – On Saturday, April 2, 2011, 35 graffiti writers and street artists will unite to reclaim the former Donnell Library as a repository of visual information on the growing world-wide phenomenon of street art. This exhibition will present an art historical timeline that is a part of New York City’s unique legacy. The artistic contribution of these cultural catalysts and preservationists from the 70’s to the new millennium will address the ever-changing urban landscape and alternative modes of producing art in the streets.

Graffiti and street art are at the crossroads of historicism.
In the last five years, museums have organized exhibitions that present graffiti and street art in a broader scope; Brooklyn Museum’s, Graffiti in 2006; the Museum of Modern Art’s laser-tagging demonstration by Graffiti Research Lab in 2008; the Bronx Museum’s, Street Life Street Art in 2008; and the Tate Modern’s, Street Art in 2008, to name a few. Although these exhibitions have legitimized graffiti and street art as an art form, this genre has not been fully resolved by the art world. At present, this contemporary art zeitgeist signals a symptomatic dystopia created between the institutionalization of this art form and its anti-institutional tenets.
PANTHEON aims to maintain the aesthetic diversity of the genre.

The forthcoming exhibition at MoCA Geffen Contemporary, Art in the Streets, will be a worldwide survey of graffiti and street art and Los Angeles’ role in the movement’s evolution. Despite its focus on Los Angeles, New York City’s graffiti and street art cognoscenti partake in their exuberance. Outside the institutional framework of museums, PANTHEON is situated within the DIY fundamentals of alternative art spaces. It is important to call attention to this space as the convergence of public and private spaces, because it informs an innovation of contemporary graffiti and street art in terms of medium, content and style.
Artists such as John Ahearn with Rigoberto Torres, John Fekner, Freedom, and Richard Hambleton independently paved the way for Skewville, Stikman, Ellis Gallagher and the various crews, ADHD, ELC, and the Grunts, to name a few

The axiom of this movement is its ubiquity in the streets of New York City. During its nascency, John Ahearn and Rigoberto Torres’ casts of everyday people adorned buildings, John Fekner’s simple large-scale text stencils politically charged brick walls, Freedom’s representational art graced tunnel cathedrals, Richard Hambleton’s silhouette paintings emotionally moved sidewalks and alleys, and Ket’s prolific tags saturated NYC’s subway cars. These artists established the tone for style, medium and content in this genre. The radical style, guerilla approach and ephemeral aesthetic of this subculture have been challenged since the 80’s and today’s artists are exploring
new ways to respond.

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chashama is a 501(c)(3) nonprofit founded by Anita Durst in 1995. The organization’s mission is to support creativity in New York City by repurposing vacant properties enabling artists a space to create. PANTHEON: A history of art from the streets of New York City was awarded the former Donnell Library as an exhibition space, which is part of chashama’s Windows Program. PANTHEON is Co-Curated by Daniel Feral and Joyce Manalo along with Debra Anderson and Royce Bannon of the Advisory Committee and the collaboration of dedicated and talented individuals, most notably, Abe Lincoln, Jr., Francesco Alessandra, Maura Barry, Jennifer Diamond, Valentin Farkasch, Karla Henrick, Ebi Kagbala, Luna Park, Ashlene Nand, Dan Nguyen and Mariette Papic. Thank you to Brooklyn Street Art (media partner); Gothamist, Hyperallergic, The Street Spot, Streetsy (media sponsors); Cresent Artists (exhibition sponsor); and WM Dorvillier & Company, Inc. (structural design consultation). Image credits courtesy of the artists. Special thanks to the Woodward Gallery, NYC for the loan of Richard Hambleton’s Fountain of Youth, 1982.
For more information, please visit or

For further exhibition details, media relations, Kickstarter campaign, sponsorships, and partnerships please email or visit For more information about the Windows Program, please visit

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Fun Friday 02.25.11


BREAKING: Nick Walker New Work in Brooklyn This Morning!

The BK’s British Brotha Debuts a New Character

brooklyn-street-art-nick-walker-jaime-rojo-02-11Nick Walker (Photo © Jaime Rojo)

While Nick Walker is in town hitting up all kinds of fancy, he spent a little time with BSA to make this new stencil in The People’s Republic of Brooklyn, above. Coming from the printers to check on the progress of the new release tomorrow (see below), Nick and his merry cluster of “assistants” rolled through the BK to poke his head into a couple of windows. Full process pics and the installation come up Sunday on BSA’s Images of the Week.


Nick Walker (Photo © Jaime Rojo)


Nick Walker will be releasing a print in collaboration with Opera Gallery, 115 Spring Street, New York, this Saturday, February 26th, 2011 at 3pm EST. A lottery has been set up making 50 prints available for collectors in the UK. In order to apply for a print please email with New York TMA lottery in the subject box.

Nick Walker’s “Morning After New York” print release at Opera Gallery Tomorrow at 3:00 p.m.

The print will be a signed limited edition of 150 with 18 hand-finished Artists proofs.

Royce Bannon Catches Unusual Suspects at 17 Frost Tomorrow


Check out Abe Lincoln Jr. Celso, Chris RWK, Darkclouds, Infinity, Keely, Matt Siren, Moody, Nose Go, and Sno Monster, all curated by monster man Royce Bannon at this eclectic show in Brooklyn Saturday night. Read more and see images from the show HERE:

Please Support the Pantheon Show Across from the MoMA in April


This spring at the former Donnell New York Public Library across the street from MoMA Joyce Manalo and Daniel Feral will bring you PANTHEON: A History of Art From the Streets of NYC. This artist’s initiative is a 40 year history of New York Street Art told by the people who actually did the work. Run with volunteers, this show promises an erudite assessing of this moment in the timeline, and a look at how we got this far – and daily demonstrations in the windows. With your pledge to their Kickstarter campaign they will be able to afford to print catalogues and mount the show. Please throw them a buck! Click Here to see their KickStarter.


Daniel already has been mocking up the catalog, which will contain extensive interviews, writing, and photographs! Your support will get it printed! Click on the link below to go to their KickStarter and pledge your donation to help them see this project through.

Featured Writers

  • Alex Emmart
  • Ali Ha
  • Adam VOID
Featured Interviewers

  • Monica Campana
  • Jennifer Diamond
  • Becki Fuller
  • Katherine Lorimer
Featured Photographers

  • Jake Dobkin
  • Sam Horine
  • Alan Ket
  • Luna Park & Becki Fuller

Brick Lane Art: The Other Side


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