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Rammellzee: Graffiti Writer, Artist and Deity “Racing For Thunder”

Rammellzee: Graffiti Writer, Artist and Deity “Racing For Thunder”

We knew that Rammellzee deserved an intellect and artist operating on his wavelength to give a fair examination of his work and this exhibition, and very few can rise to the occasion the way that EKG does today for BSA readers. The exhibition is phenomenal in its scholarship and presentation without question thanks to its curators. EKG is naturally equipped to decode and help others appreciate the artist thanks to his exhaustively inquisitive nature, reverence for methods of applied science, brilliant data sequencing ability, and NYC streetwise intellect.


An article in two parts:
(1) A look at Rammellzee’s life and work.
(2) A review of the RAMMELLZEE: RACING FOR THUNDER exhibition

 by ( ( ( ekg ) ) )

Rammellzee (photo © Brian Williams. Courtesy of Red Bull Arts)

Part 1: The Rammellzee.

By the age of nineteen, a graffiti writer from Far Rockaway, Queens, NYC, had already come to the advanced aesthetic decision to legally abandon his family-bestowed and governmentally-designated name, and knight himself with a self-defined alpha-numeric neologism: THE RAMM:ΣLL:ZΣΣ. With this subversive act of mathe-poetic mutation, the prodigal prodigy ironically utilized the very machinations of power and control to re-code himself as an aesthetic bio-hack manifestation injection challenging the status quo system. Then, for the rest of his life, he steadfastly kept his original designation an absolute secret, thereby proving the seriousness and effectiveness of the manifest destiny of his semiotic transformation into a wraith of rebellion in the Aestherial Semiotosphere.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

Rammellzee’s self-induced rebirth was the pinnacle of his aesthetic and theoretical development during his teens in the mid-to-late 1970s. Illustrating his natural visual gifts, Rammellzee’s early work was a combination of precise drafting techniques with an expressionistic use of spray paint. Revealing his intellectual depth and writing talents, he formulated a universal aesthetic philosophy called Gothic Futurism, as well as codifying the stylistic elements of Wild Style graffiti into an advanced set of militaristic semiotic forms that he dubbed Ikonoklast Panzerism. Displaying his charismatic leadership qualities, he formed the crew Tag Master Killers, consisting of the other graffiti writers A-One, Delta2, Kool Koor and Toxic, who had the talents to execute his exacting stylistic tenets. Also, due to his relentless social energy as a performer and rapper, he was quickly recognized as a significant presence in not only the graffiti and art communities, but the hip hop subculture as well.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

As he passed into his twenties during the early 1980s, Rammellzee was featured in many of the seminal graffiti, hip hop, and fine art events and projects of the times. He worked as an MC with the legendary break dancer Crazy Legs. He was included in shows at significant galleries uptown and downtown in NYC, including Fashion Moda. Basquiat recorded him with K-Rob in one of the first avant-experimental hip hop singles called Beat Bop, in which Rammellzee introduced his “Gangster Duck” nasal vocal style, which later influenced The Beastie Boys’ AdRock and B-Real of Cypress Hill. He also was featured rhyming and performing in Charlie Ahearn’s classic graffiti film Wild Style, as well as playing a cameo in Jim Jarmusch’s first film Stranger Than Paradise. Through the 1980s, as his fame grew within these NYC subcultures, his notoriety also spread around the world, providing him with many opportunities to exhibit and perform in Europe and South America as well.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

At the turn of the 1990s, as for most graffiti artists, opportunities plateaued and dropped off, but Rammellzee continued to develop and live as an artist for the next twenty years, until he passed at age 50 in 2010. He dubbed his downtown Manhattan loft space “The Battlestation,” which was where he worked and lived in a creative petri dish of blackened illuminations. During this time period, he discovered new art forms as a writer, performer and sculptor, advancing his original aesthetic theories and styles to create some of his most unique series. He explored other textual formats for his ideas, such as a screenplay called Alpha’s Bet. He continued deeper into his obsession with three-dimensional collage combines, consisting of urban detritus, neon spray paint, and thick resins, making them darker and dirtier, best viewed under ultraviolet blacklight.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

Sculpture became a significant form of expression, as evidenced by his Letter Racer series, which was a physical manifestation of the alphabet with skateboards as their base, designed following the aerodynamic ideals of his Ikonoklast Panzerism theories. Also, his life-size kabuki-transformer costume, which he had begun to construct in the early eighties to wear during his public appearances, schizophrenically mutated into an earthly Asgard of costumed deities dubbed The Garbage Gods, each with a fully conceived personality and narrative. He also explored a menagerie of new characters in the form of figurine-sized plastic sculptures that he called Monster Models. Beyond these Battlestation-based monastic divinations, Rammellzee also continued to explore a spacey hip hop style of music and costumed performance within art and music contexts. He released solo albums and collaborated with many new groups, such as New Flesh, Death Comet Crew, and Praxis.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

After being such a strong voice and powerful creative force during his lifetime, it is especially sad that he passed away at only fifty years old in 2010. Although on par with Basquiat and Haring in terms of talent and intellect, Rammellzee remained somewhat of an outsider to the fine art world in terms of society, aesthetics, and market. Maybe his work was too rooted in true graffiti styles to appeal to the older moneyed class at that time, who were more interested in expressionism and minimalism. Maybe it was too challenging as a militaristic revolutionary expression, making the agents of the matrix nervous. Maybe it was too dark and quirky like Rammellzee himself. Or, maybe, like so many other visionary autodidact Outsider Artists, his work was just too out there for those to take it all in without quickly dismissing it as merely untrained gibberish. Although too late for Rammellzee himself to appreciate, it is gratifying to see an exhibition like RAMMELLZEE: RACING FOR THUNDER fully present and ultimately confirm Rammellzee’s brilliance, relevance and importance on all levels, in all subcultures, in all mediums, across a half century of promethean artistic creation.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

Part 2: The Exhibition

In recognition of the breadth and depth of this artist, the RAMMELLZEE: RACING FOR THUNDER retrospective is a deeply researched, insightfully curated, and densely designed exhibition. It is an engaging experience presenting Rammellzee’s complete oeuvre in a two-floor chronological survey, which also contextualizes his output with a massive amount of historical interviews and documentation in all media formats. This is the first exhibition of its kind for Rammellzee, and, depending on one’s age, it may be a once in a lifetime exhibition for us.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

So, if you have the time and the inclination, definitely allot at least an afternoon, if not a few days, in revelry to absorb it all. When many of us first come in contact with Rammellzee’s art and writing, we find it to be an exhilarating, but dizzying, elliptical swirl of crypto-poetic language and visionary ideas, combining concepts from all intellectual disciplines. So, this exhibition gives one a great opportunity to immerse oneself deeply in his world in order to connect the sparkling galactic astronomy of his cosmology and grasp his expansive vision. After reading and rereading his texts; researching his vocabulary and neologisms; becoming familiar with his unique sentence configurations; watching and rewatching his lectures and interviews; viewing and dissecting his art and graphics; then, the beautiful language and pregnant details of his art and philosophy tie together into a comprehensive mytho-ontological diagram of life, science, society, and aesthetics.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

The lead curators Max Wolf and Carlo McCormick have a long history between them within the art world and graffiti communities. They were able to obtain significant paintings and sculptures, printed matter and photographs, videos and audio recordings from friends and collectors around the world in order to fully represent Rammellzee’s polymath output. Maybe most significantly, they also recorded new oral history interviews with friends and collaborators, such as Futura, Keo, Lee, Daze, Jim Jarmusch, Bill Laswell, Charlie Ahearn, Henry Chalfant, K-Rob, and dozens more. From these interviews, they culled short clips which are presented on nine iPads with headphones located throughout exhibition. As you listen, there are also extensive slideshows on the iPads to swipe through.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

There is never a wasted opportunity to pack some more content into all the nooks and crannies of this exhibition. In addition to the iPads, there are also six video stations, four sound installations, a full-size film-screening theater, and one computer station. In total, there is at least a full day of interviews, performances, lectures, and other historical media to listen to or watch. There are even recordings playing in the bathrooms, and one speaker installed outside in front of the gallery under a sidewalk grate, playing a recording of Rammellzee acting as a subway conductor announcing train arrivals and departures. They also programmed a series of in-person gallery tours and presentations held in the gallery once or twice a week, by artists and historians, such as Carlo McCormick, Kool Koor, Delta2, Crazy Legs, Charlie Ahearn, Seth Tillett, Enrico Oyama Isamu, The Death Comet Crew, and more.

Rammellzee: Racing For Thunder. (photo © Red Bull Arts)

Then to top it off, they designed a free printed exhibition piece available at the front desk. On one side it has a poster of The Garbage Gods pantheon with descriptions; but then it is also folded up to display the other side as an accordion-style zine, consisting of a brilliant introductory essay, specific details about the exhibition, and many crucial outtakes from Rammellzee’s writing. Even if you don’t have time to walk through the exhibition, this pamphlet alone makes the trip to the gallery worthwhile for any fan or scholar because it is such a great piece of historical ephemera to bag-up as a collectible or to use as reference material.

Finally, as the grand denouement to this wonderfully extravagant exhibition, a book-length catalog will be published this fall. So, if you can’t see the exhibition or pick up the zine, this book will be the next best thing.

Rammellzee (photo © Keetja Allard. Courtesy of Red Bull Arts)


by ( ( ( ekg ) ) )

July 2018, NYC

Artist page:

Instagram: @ekglabs

RAMMELLZEE: RACING FOR THUNDER retrospective at the Red Bull Art Space, 220 West 18th Street in Manhattan, through August 26th, Wednesdays thru Sundays, 12pm – 7pm.


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Wastedland 2. Andrew H. Shirley Corrals Counter-Culture in Detroit

Wastedland 2. Andrew H. Shirley Corrals Counter-Culture in Detroit

“The only way to support a revolution is to make your own.” Abbie Hoffman



EKG Labs. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


At any given moment a counter-culture is developing before your eyes. Authoritarian governments know this. So do, as it turns out, lifestyle brands, sociologists, and PR firms.

Born of a genuine disaffection with the dominant culture as it steamrolls blithely forward, counter-culture has the ability to draw sharp contrasts into focus, expose secrets, challenge hypocrisies, redress inequality. It can also crack open a moribund mindset and give oxygen and sunlight and water to new ideas, new ways of being, alternate paradigms.


UFO 907 & William Thomas Porter. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

Counter-culture is essential to growth of culture, and while it can be shocking, disruptive, even painful at times, the wise know that the marginalized often lead the body politic toward a stronger equilibrium, a more perfect union.

Graffiti may not have begun as a subculture or a counter-culture, but virtually all of our recognized institutions steadfastly resisted it. Over time, they have become more open to suggestion, if with reservations and conditions. Eventually, everything is transformed by it in degrees.


EKG Labs. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


May we suggest that when it comes to the counter-cultural aspects of graffiti and Street Art, Detroit is a fine example of being in multiple stages of acceptance and denial, with examples of the counter-culture all along the continuum from rejection to absorption.

During a recent visit we saw old-school Detroit graffiti heads with their elaborate pieces next to newcomer kids from other cities bringing a raw-graff anti-style. You could also find corporate lifestyle brands polishing their art-cool bonafides while gently intermingling with grassroots community-minded mural organizing.

Further up the financial ladder you’ll witness blue-chip collector/investors getting down in a gallery culture that supports marquee art names, and major institutions courting younger “edgy” artists who started their “careers” far outside the mainstream, often outside the law.


EKG Labs. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

Andrew H. Shirley steps carefully in many ways as he leads us up a cracked staircase of oil-caked concrete, piss-poor lighting and the occasional puddle of murk. Our ears are still ringing from the sounds of a busted muffler in his car and we’re mulling over the sight of his dashboard vitrine that seemed to contain bones, feathers, amulets and pop culture debris reflecting in a ochre filmed windshield.

On the way here to Lincoln Art Park, we have passed graffitied car carcasses, crumbling ex factories, and fire torched exoskeletons of houses – all which lead to this loading dock entrance of a building once owned by Ford, now run as a recycling plant and, as it turns out, an art exhibition gallery.


Our ride to Wastedland 2. (photo © Jaime Rojo)

“So there was 40 years of garbage and the whole floor was filled with it,” Andrew says, “I came in here and I had to unload all of that sh*t by myself”.

A native of the big D, the slim-framed Mr. Shirley has spent half of his 40 years outside of it; writing graffiti, pitching and creating art projects, promoting scenes, studying film making and custom bike-making… generally pushing the margins of cultural acceptability in a way that looks sketchy on a resume – but would make smart brands salivate, if they had the guts.

“This is the 20th anniversary of me leaving this town and I have been back several times with several different shows,” he says about the group exhibitions and events that feature what he calls ‘underground aesthetics’.

“This is the first big public project where I brought a lot of my friends from New York and included the artists and makers here in Detroit who I have come to know over the years – all under one roof and showcasing all of their talents.”


Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Also, a film screening.

It’s the debut of “Wastedland2” in the middle of this 7,000 square foot dark cavern with a small grouping of stolen church pews facing the screen. The original Wastedland was a smaller tale – a petri dish of ideas that expanded and took root in a showier piece of exploration and mystery with higher production values.

The seating area is orbited by mini-dioramas of characters and scenes featured in the half hour graffiti mockumentary. Here is a handmade shack by Adam Void that perhaps epitomizes a metaphorical outsider clubhouse mentality common to the graffiti game.

To stage left is a stuffed 6-foot tall Cranky Cat standing erect amid piles of spent paint cans, a fire extinguisher, and exhaust tubes leading nowhere. In the movie Cranky is a feral and grouchy/whining character who propels the drunken aerosol action forward with escapades of ex-urban painting and existential fireside conversation with Wolftits and Amoeba Man in their “Wizard of Oz”-like  pilgrimage in search of truths. There is no Dorothy and no Toto in the film, but the animal head masks are trippy and comical even in the darkest moments. Each graffiti artist, according to EKG, was asked to make a costume that mimicked their spirit-animal. Amoeba Man’s plastic-wrapped head mask is a tour-de-force.


Standing silently in the center of the floor behind the seating area in the exhibit is the massive tentacled steam-punked multi-eyed orb made of wood and steel that gives physical presence to the elusive anonymous graffiti crew called UFO 907. He also is the films’ diety and the holder of the aforementioned elusive truths.

Behind him on the wall is another slatted and animated version of UFO – perhaps more similar to the wiggly UFO 907 character sprayed across hundreds of walls in NYC. This animated sculpture version has a reservoir of black ink that drips on the floor.

Wastedland 2 is a road trip without road, a therapeutic buddy film without saccharine, staged in a post apocalyptic terrain that is revealed as graffiti oasis. The hapless beer- and weed-fueled journey is pure youthful angst suspended in chemicals and many in the audience laughed in recognition at the head-banging frustration voiced about fundamental life questions by these furry characters.

Despite the obvious obstacles posed by frozen facial expressions, there is a warmth in the interactions. Of note particularly is the party scene of mixed genders and the stumbling awkwardness of Wolftits with a potential lady friend; this will be the first time you’ve seen the mating game portrayed quite like this.


“Cranky Cat’s Hovel” with Cranky Cat. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

“This piece played the character of God in the film,” Andrew says, pointing to the all-seeing sculpture. “You may have seen that it was actually in a field in upstate New York.”

Yes, we made the trip to the rolling hills of cow-country to see it twice in a field of gently waving weeds. Previously we saw it in the lobby of the Brooklyn Academy of Music. Previous to that we saw it being carved, soldiered, and under construction in UFO’s studio in Brooklyn. Truthfully, it does seem rather god-like.

Andrew says he transported the hulking orb by truck from rural New York to post-industrial Detroit, which must have taken 9 or 10 hours if he crossed into Canada and squeezed between the Great Lakes of Ontario and Erie.


EKG Labs. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

This old factory has definitely not been refurbished into a “white box” gallery space, and there are no guards. There may be a guard dog. The floors are occasionally flooded by a leak from a source that is hard to pinpoint, the lighting is so irregular as to appear incidental, and visitors should be careful not to bang their head on the soot-covered sculptures of clouds by artist DarkClouds that are affixed slightly above with stalactite-like ebony drips that could be solid or liquid.


Dark Clouds. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

As you parse the floors and avoid the paint-peeling columns Mr. Shirley is narrating just ahead of you with an earnest voice that weaves in and out of range, dashing off to find an extension chord perhaps, or a ladder, or to find someone to come explain the muscular graffiti pieces on display in the adjoining passage.




BRZM ISH/ SYW. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

Presently a twenty-something guy named Zak Warman appears and walks us past 10 or so freshly wild and layered graffiti pieces each displayed in their own bay, each representing important players from the last couple of decades in the Detroit graffiti scene. Zak tells us says that the Motor City scene is characterized by two distinct styles and constituencies at the moment, and this show combines both.

“I guess like the ‘gangster graffiti’ and the ‘white kid graffiti’ would be the best way to put it,” he explains while surveying the lineup and glancing at the rest of the show. “You know, the people who were like born in the gutter here and the people who came here in their teen years who moved here and such.”


YOGURT / DFW. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

“There’s people here who would never have painted together but maybe it was just the way that I showed them or my proposal. I was like ‘let’s just set everything aside that’s happened over the years – this is about us it is not about you. This is about everybody not just about our own f**king personal graff beef.’ ”

“It’s like the first time that everyone has come together into one big family.”

Mr. Shirley jumps in to further describe the nature of the work and the creators. “It is very important in Detroit to be able to ‘piece’, ” he says of the verb ‘piece’ that describes the noun ‘piece’ – a large, complex, and labor-intensive graffiti painting.

“In some places having a good tag is that first staple and then you move up from that tag,” he explains. “But here, because of the amount of time and space that you have to develop your craft all of these dudes really regard piecing above everything else.”

He walks down to the end of the line to point at a painted work. “These guys at the end – PERU and ARMY – they were doing 10-color pieces on the streets, as was SEKT – before anyone else. These guys represent a span of time from the early and mid 90s into the 2000s.”  In most cities you don’t have that luxury of time to develop an illegal piece, but Detroit has a number of stories like this.


PERU ARMY. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

A common story around Detroit is that, due to de-industrialization, the collapsing economy and the shrinking municipal budgets in the 1990s and 00s, the police were only arresting people for felonies. Since graffiti was not a felony, the police would simply drive by while aerosol was being sprayed.

“It’s not a myth,” says Andrew. “I painted a water tower one time – it’s still here today.” He recounts a story where one cop sat vigil on a rooftop for hours watching him paint on the water tower, only to be replaced by another until finally the painting was done. “I think he was just making sure that I didn’t get hurt and that I was okay,” he says with a sense of wonder.


SEKT EBC / DFW. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)




EKG Labs . Drake. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

It’s time to depart the Wastedland 2 exhibition and go to the streets in this run-down part of Detroit, where the art on the walls is roughly the same as the stuff we’ve just come to see.

It is unclear if this underground is simply about aesthetics, or if there is a deeper message. Maybe this is not a counter-culture after all, but a subculture.

As we stand by the elevated installation by artist EKG, dry-ice smoke billows out of a fully formed madman’s laboratory behind black curtains. Amid the visual field of blinkering orange light tubes and smoke that harken back to 1950s Sci-Fi movies, you see another character from the movie; the film’s box-headed admin assistant who robotically types out reams of black scrolls full of orange symbols to decode at a pivotal moment. This is an apt skillset to possess in an underground scene that is heavily coded and rife with implied and layered messages. A simple man of few words, EKG dubbed his character The Cyber Spirit Stenographer in The Court of The Overlord.


EKG Labs. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)

We consider the amorphous steam from the Cyber Spirit and wonder how porous the veil is between the mainstream and the outsider artists who fuel this scene. When does counter-culture become culture? We can’t say for sure.

“Detroit is a pretty good example of counter-culture becoming culture, actually,” replies Andrew H. Shirley to our inquiry. “There is this corporatization that happens and there are culture vultures on the corners and in the nooks and crannies in underground scenes of America and they are exploiting it for monetary gain.”  True. But there is also word-of-mouth that spreads the news and the willing, thrilling adoption of techniques and languages by the naturally inquisitive types whose brain synapses are electrified by discovery.  With shows like this does Mr. Shirley feel like he is aiding and abetting the mainstreaming of a subculture like graffiti and its D.I.Y tributaries?

“I’d like to pull back the curtains and give a little peek of it but I’m not trying to shine too many flashlights or provide too much of a narrative into the ‘hows’ and ‘whats’ and ‘whys’. I think it’s important for the common man to see that there is an alternative perspective because too often they are just inundated by the media that is controlled by the corporations – who are telling them what to wear, how to think, how to act, what to pray to, what to feel and how to live their life.”


EKG Labs. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)



He does have a little beef with mural festivals though.

He thinks his Wastedland 2 show deals a fairer hand to local artist communities. “This is kind of in contrast to what seems to be an international phenomenon of bringing muralists, many of them the same muralists, from city to city – developing a ‘look’ that is kind of becoming a blanketed look,” he says.

“Detroit has so many f**king artists and part of the problem for me is that there are a lot of these mural festivals that are two thirds or 75% or 90% international artists and 10% or 20% local artists. It doesn’t allow for the city to see what is really happening here. I wanted to have a show where the background and the forefront of the show was about what was happening here.”

“While I do think the mural festival is very important in bringing in outside influence and outside interest into the city, for me it is just as important, or more important, to really praise and understand the origins of these movements in Detroit. That’s why I have reached out and had the help of friends to get these artists into the show.”

That said, we’ll say that the Wastedland 2 event was heavily promoted by the folks at the recent Murals In The Market Festival and many of the international artists who participated in the mural festival were also in attendance at the Shirley curated show, the bonfires, and music events at the sculpture park – as well as the screening of the movie.

Of course we also saw Gen Y and even Gen Z there with backpacks full of paint, dangling their legs off the retaining wall that overlooked the huge bonfire — who seemed to disappear when the freight train that ran along the lots’ perimeter came to a halt. There was also a guy from the Detroit Institute of Arts and a local plumber who talked to us about building a tree house in his front yard. Maybe it is harder to define culture than we thought.


Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Amy Smalls . George Vidas. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Amy Smalls . George Vidas . GEN2. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Rambo . UFO907 . Ryan C. Doyle. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Rambo . UFO907 . Ryan C. Doyle. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Rambo . UFO907 . Ryan C. Doyle. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Rambo . UFO907 . Ryan C. Doyle. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Amanda Wong . Andrew H. Shirley. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Dark Clouds. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Wolftits popcorn making machine. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Adam Void. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Greg Henderson. Wastedland 2. Detroit, September 2016. (photo © Jaime Rojo)


Participating artists at Detroit Wastedland2, curated by Andrew H. Shirley include ARMY, BRZM, DRAKE, DONT, DYKE, ELMER, FOUR EYES, LIGER, MINCE, PERU, PORAB, REVEREND, SECT, SKWAT, TOUCH, TURDL, YOGRT and others from Detroit and also artists Adam Void, Amanda Wong,  Amy Smalls and George Vidas , Ben Wolf,  DARKCLOUDS,  EKG,  Greg Henderson,  Hugo Domecq,  RAMBO,  Ryan C. Doyle,  UFO 907,  William Thomas Porter,  WOLFTITS, among others.

Performers included The Unstoppable Death Machines, DJ (Crazy Jim from Wolf Eyes), Ishtar, Lt. Dan, and Dj’s Abacus, Prismviews, Black Noi$e, Abby and 100% Halal Meat

This article is also published on The Huffington Post



Next stop on the film’s multi-city launch: Richmond,Virginia on November 4.

Wastedland 2” and the accompanying show will feature new artwork from:  Adam Void, Amanda Wong, Amy Smalls and George Vidas, Andrew H. Shirley, Conrad Carlson, DARKCLOUDS, EKG, Greg Henderson, NOXER, RAMBO, Russell Murphy, Ryan C. Doyle, UFO 907, William Thomas Porter, WOLFTITS, and live performances from The Unstoppable Death Machines and Richmond’s DUMB WAITER and TOWARD SPACE. There will also be graffiti installations from local Richmond vandals and the 907 crew.

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