All posts tagged: Faile

BSA Images Of The Week: 01.05.20- Wynwood Walls/Miami

BSA Images Of The Week: 01.05.20- Wynwood Walls/Miami

Welcome to Wynwood! – A little piece of chaotic urban paradise and real estate development that has blossomed into a mini-holy city for fans of murals.

The convergence of three events during the 2010’s – cheap digital camera phones, social media, and mural festivals – have created this intense and colorful tourist neighborhood in Miami during the same time. The sheer number of happy extended families, groups of friends, and couples in love all were converging on the evolving neighborhood to see art in the streets. They also take pictures with it, pose in front of it, buy refrigerator magnets of it, and listen to tour guides speak about it.

During a recent day in the Wynwood Walls compound, which is surrounded on neighboring streets with a plethora of other murals, unsanctioned Street Art, and graffiti, we saw a number of newly painted murals that have replaced others there. We also saw that a few of the old favorites have been reinvigorated. Here is just a handful of images of the action.

Here’s our weekly interview with the street, this week from Miami, and this time featuring Dasic Fernandez, Ernesto Maranje, Faile, Michael Vasquez, Buff Monster, Futura, Dan Kitchener, and Tats Cru.

Dasic Fernandez. Detail. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Dasic Fernandez. Detail. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Dasic Fernandez. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Ernesto Maranje. Detail. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Ernesto Maranje. Detail. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Ernesto Maranje. Detail. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Faile. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Michael Vasquez. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Buff Monster. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Futura updated his previous mural on the same spot. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Dan Kitchener. This is only a detail of his large wall. It was practically impossible to shoot this wall due to a large number of visitors in front of it. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
Tats Cru. Wynwood Walls 2019. Miami. (photo © Jaime Rojo)
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2010-2020 : 10 Impactful Street Art & Graffiti Interventions & Events of the Decade

2010-2020 : 10 Impactful Street Art & Graffiti Interventions & Events of the Decade

BSA has been here with you for this entire decade – an honor and a privilege. Reviewing the many interventions and events we witnessed and shared with our readers, we realize that this grassroots people’s art movement is reflecting our society in fundamental ways and reaching deep as well as wide. Here in roughly chronological order we recount for you a Top 10 for BSA that have impacted our way of seeing art on the streets.


1.

The “Girl In The Blue Bra” – December 2011

Oppressive regimes worldwide have a few commonalities. One of them is patriarchy. Over the last decade we have seen many female artists rise powerfully to smash it, harnessing their rage and power and taking their voice to the street.

There were countless images that encapsulated the ferocity and the tenacity of the protesters during the Arab Spring uprisings in Cairo, Egypt in December of 2011. One image, in particular, captured the attention of the media and the public. The image is commonly referred to as the “Girl In The Blue Bra”. The image depicts a young woman, whose identity remains anonymous, being beaten and dragged by soldiers as she was taking part in the protests in Tahrir Square in Cairo, against Egypt’s Supreme Council of the Armed Forces. Her face is veiled and her jeans are still on but as she was being dragged by the soldiers her abaya came undone exposing her bare torso and revealing her blue bra as a soldier was about to kick her in her abdomen.

A young woman is being dragged and kicked, exposing her bare torso in the act by the military in Tahiri Square. Cairo, Egypt. December 17, 2011. (Stringer/Reuters/Landov)

While the image exposed the abusive practices and of power of the military in Egypt – it also swiftly sparked ferocious reactions around the globe, particularly with women who subsequently staged their own march in Tahrir Square in Cairo to demand the end of military rule.

Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)

Among the artists who carried the Blue Bra theme to the streets was one artist, Bahia Shehab, whom BSA and its readers helped to get a movie made about Street Artists in the Arab Spring, called Nefertiti’s Daughters, directed by Mark Nicolas. Later we were the first to debut a scene from it at the Nuart Festival in Norway (“#Activism on the Street Now”), and years after that Nuart actually hosted professor Shehab. This is a small world, this Street Art community.

The actions of the young woman, the violent response of the military, and the overwhelming support of the public, in general, sparked a new wave of feminism in Egypt and inspired artists to create and display their artworks on the streets in protest.

Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)
An unidentified artist in Cairo. (photo from Pinterest)

2.

“Art In The Streets” Opens at LA MOCA – April 2011

Art in the Streets was the first major U.S. museum survey of graffiti and street art, curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, an exhibition tracing the development of graffiti and street art from the 1970s to the global movement it had evolved to. BSA was there to capture and share some of what was happening.

Red Hot and Street: “Art in the Streets” Brings Fire to MOCA

From BSA

“Yes, Banksy is here. The giant ‘Art in the Streets’ show opening this weekend at the Museum of Contemporary Art in Los Angeles gives a patch of real estate to the international man of mystery who has contributed greatly to the worldwide profile of what is soon to be, maybe already is, a mainstream phenomenon known as street art. A smattering of his pranksterism is an absolute must for any show staking claim to the mantle of comprehensive survey and an excellent way to garner attention. But “Streets” gets its momentum by presenting a multi-torch colorful and explosive people’s history that began way before Banksy was born and likely will continue for a while after.

The show is an audacious multi-platform, colorful endeavor; part history lesson and part theme park bringing about 50 years of graffiti and street art history, it’s influences and influencers, under one roof. Then there is the stuff outside. Engaging and educational, “Art in the Streets” makes sure visitors have the opportunity to learn how certain tributaries lead to this one river of swirling urban goo, mapping connections between cultural movements, communities, and relationships within it. When it does this, the museum system effectively differentiates its value apart from a mere gallery show. “

“Art In The Streets” Blade . Os Gemeos. (photo © Jaime Rojo)
“Art In The Streets” Invader’s invasion of Martha Cooper’s installation. (photo © Jaime Rojo)

3.

Banksy’s NYC Residency – “Better Out Than In” – October 2013

An unprecedented city-wide near daily installation of works in New York established a new high-water mark in the flood of Street Art that took many cities in the 2010s. The British Street Artist played to a media capital in such an effective campaign that even the least interested residents became familiar with the elusive prankster.

Banksy’s Final Trick

From BSA

A Genuine October Surprise for New York Street Art Friends and Foes Alike.

“In a series of communiqués beamed from his website, the global Street Artist Banksy gave graffiti and Street Art followers a near-daily jolt of mystery and mouse clicking that had people looking at every street scene as a possible Banksy by the time it ended. While few can confirm the exact level of involvement the actual artist had in the five boroughs, if any, none will deny that the Banksy brand underwent a major “refresh” this month that again put his name on the lips of those who had begun to forget him and many who had never heard of him.

Thanks to this masterful marketing campaign billed as a month-long ‘residency’ on New York’s streets, many thousands were talking about him daily on the street, on television, radio, social media, in galleries, studios, office cubicles, art parties, and the mayors’ office. By effectively combining the sport of treasure hunting with humor and populism, each new cryptic appearance of something-anything gradually conditioned some grand art doyennes and the plainer mongrels amongst us to drool on command and lift a leg in salute to the curiously still anonymous artist and the team who helped him pull it off.”

BANKSY “Better Out Than In” NYC Month Long Residency. (photo © Jaime Rojo)
BANKSY “Better Out Than In” NYC Month Long Residency. (photo © Jaime Rojo)

4.

The Brooklyn Museum’s Exhibitions with Swoon, Faile, BÄST, Haring, Basquiat, ESPO, JR Expand Knowledge, Appreciation

One cultural institution in New York City and indeed in the United States has been notable throughout the decade for its commitment to organizing exhibitions where graffiti, street art, and the artists whom have shaped it are given recognition for their contribution to the arts. The Brooklyn Museum’s leadership, including former director Arnold L. Lehman, current director Anne Pasternak, and Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives have been channeling resources and focus to the study, promotion, and exhibition of the works of important figures in the contemporary graffiti and Street Art movement. It notable that the museum has in its permanent collection the works of distinguished graffiti and Street Artists dating back to the dawn of the modern scene; something that other important cultural institutions in New York City that are dedicated to the preservation and promotion of modern, contemporary, and American art lack in their collections.

It’s for this reason that we have selected the Brooklyn Museum as one of the top ten graffiti and street art movers of the decade. Predated by 2006’s “Graffiti” exhibition the museum has mounted several important presentations during this decade that have not only been blockbusters but they have contributed to the cultural enrichment of all New Yorkers and the expanded discussion of the relevance of these art forms to established canons. Here are some highlights:

Keith Haring – March 2012

From BSA

Keith Haring 1978-1982 : Early Keith at The Brooklyn Museum

Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.

… At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.”

Keith Haring. Matrix, 1983. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Swoon – April 2014

From BSA

“Swoon: Submerged Motherlands”, A Tree Grows in Brooklyn Museum

“Sharon brought me in here and said, ‘What is interesting to you in the building?’ and I really love that because the thing about working on the street is that you are always thinking site-specifically. And so that thinking has to translate into your work in all places. For me, if I make something in a museum I want it to be very site-specific and this is probably one of the most site-specific pieces I’ve ever done,” explains Swoon.

Under the advice and guidance of an engineer, the artist also modified her design process to allow for foundational considerations like truss sections and lift points. “I showed him an initial model and he showed me an engineered system and then I built another model based on the system that he engineered.”

It is probably unusual for a grand museum to be so amenable to the requests of an artist for a site-specific piece that literally inhabits the furthest reaches of space, and Swoon says she recognizes the leeway she received. “You know, they have been really adventurous in letting us create this. We’ve been sort of pushing a lot with the creation of this piece.”

For Matt Atkins, the opportunity to bring an internationally known street artist and neighbor into the museum has been the result of just over two years of planning. ‘It’s been so wonderful working with Swoon to realize her vision for this project. This is the first time we’ve really used the full height of the 72-foot dome, so it’s quite spectacular. I am thrilled to see her boats back in New York and for them to have this new life. The underlying ideas about climate change in the installation also make this project an appropriate tie into the Museum’s focus on activism with our other exhibitions and collections,’ she says.”

“Swoon: Submerged Motherlands” (photo © Jaime Rojo)

Basquiat: The Unknown Notebooks – April 2015

From BSA

Basquiat’s Notebooks Open at The Brooklyn Museum

“In Basquiat: The Unknown Notebooks, now running at The Brooklyn Museum until August 23rd, the genius of his fragmenting logic is revealed as a direct relationship between his private journals and his prolific and personally published aerosol missives on the streets of Manhattan’s Soho and Lower East Side neighborhoods in the late 1970s and 1980s.

These notebooks were for capturing ideas and concepts, preparing them, transmuting them, revising them, pounding them into refrains. In the same way his text (and glyphic) pieces on the street were not necessarily finished products each time; imparted on the run and often in haste, these unpolished missives didn’t require such preciousness.”

Famous. 1982. Basquiat:The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

Faile & BÄST – July 2015

From BSA

Holy Faile ! “Savage/Sacred Young Minds” at Brooklyn Museum

“FAILE may be a religious experience this summer at the Brooklyn Museum, but only one of the hallowed installations is called Temple. The seedier, more dimly lit venue will surely have the larger number of congregants by far, bless their sacred hearts.

Celebrating the duality and appropriation of words, slogans, and images have been the bailiwick of the duo since they first began hitting Brooklyn streets at the turn of the century with their stencils and wheat-pastes on illegal spots and neglected spaces. In FAILE: Savage/Sacred Young Minds, their new attention-commanding/refracting exhibit organized by Sharon Matt Atkins at the Brooklyn Museum, these guys pour it on, compelling you into a complex panoply of possible re-imaginings of meaning that reference pop, pulp, myth, art history, 50s sci-fi, 60s advertising, comics, punk zines, consumer culture and their own pure artistic and branded fiction.”

FAILE. Temple. “Faile: Savage/Sacred Young Minds” Brooklyn Museum, July 2015. (photo © Jaime Rojo)

Stephen ESPO Powers – November 2015

From BSA

Coney Island Dreaming: Following the Signs to Stephen Powers

Stephen Powers: Coney Island Is Still Dreamland (To A Seagull) is one of 3 new exhibits inspired by the historic attractions of Brooklyn’s seaside.

“Graffiti artist-turned-sign painter Stephen Powers is dreaming of Coney Island and he is bringing a colorful collection of found and freshly produced signage that evokes a forgotten era to climb the columns of a Brooklyn Museum gallery.

Given the boisterous parade of brands and logos into museums that is happening as part of the institutional funding and programming mix, it’s fun to see the ninth episodic installation of this traveling ICY SIGNS shop here; its simplicity and guile recalling amusing persuasive techniques from the mid-century American advertising lexicon. Simultaneously, for those who have been lucky enough to sicken themselves on cotton candy and The Wonder Wheel, the new show imparts a rather reassuring and seedy nostalgia for Coney Island, complete with an inexplicable hankering for a thick beef hot dog.”

Steve Powers “Coney Island Is Still Dreamland (To A Seagull)” Brooklyn Museum. November 2015 (photo © Jaime Rojo)

JR – October 2019

From BSA

“JR: Chronicles” Revels in His Explorations at Brooklyn Museum

“A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.

Brooklyn Street Art: JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects?
Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby or business owners and workers of local stores. “

JR. 28 Millimètres, Portrait d’une génération, Braquage (Holdup), Ladj Ly, 2004
JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

5

Blu and Street Art – Banksy & Co.

Curated by Christian Omodeo, Luca Cinacabilla, and Sean Corcoran. March 2016

BLU buffing his own works in Bologna took the news cycle, his legion of compatriots armed with rollers and bucket paint. But it was the show that he was reacting to that brought thousands to the museum space to discuss the rightful place of Street Art, graffiti, and the relevance of preserving it for posterity.

From BSA

BLU Allies : A Counter Exhibition to “Banksy & Co.” Launched in Bologna

“The contested Banksy and Co. exhibition contains, among many other works, walls removed from a privately owned abandoned building in Bologna that were painted by BLU. Displaying the walls and his artwork without his consent so angered the painter that he rallied artists and activists to help him snuff out all his remaining murals and paintings in this Northern Italian city last week. (See A BLU Buffer Talks About the Grey Action in Bologna)

The heavily attended Friday night opening of Street Art – Banksy & Co. at Palazzo Pepoli – Museo della Storia di Bologna was curated by Luca Ciancabilla, Christian Omodeo, and Sean Corcoran and features roughly 250 historical and contemporary works spanning about fifty years and highlighting a number of movements within the so-called Urban Art genre. On balance it appears that 90 percent of the works are studio works, paintings, sculpture, videos, original sketches, and ephermera and were probably collected in a more conventional way and the tagged posters, stickers, metal doors, and wall fragments are viewed in the context of the whole scene.”

About Ponny (photo © @around730)

A BLU Buffer Talks About the Grey Action in Bologna

From BSA

“Reality TV is usually completely devoid of reality. That isn’t the exact comparison Andreco said on his Facebook page but we thought it was a fitting analogy. Street Art in a museum or gallery can sometimes feel like taxidermy.

Andreco actually said ‘Deciding which wall to paint or not to paint has always been one of our free choices. This operation, to uncork the walls and move them elsewhere, oversteps this freedom.’ Fair enough.

Of course, that is not the primary reason why activists and Street Artists joined in to help BLU paint over the many murals that he completed on Bologna city walls over the last two decades or so. In an English titled press release on the Italian website Wumingfoundation the artist lays out a multi-layered justification for destroying his own murals, many of which have become beloved landmarks around the city and which have helped make him an art star in some circles.”

BLU action in Bologna. (photo © Andreco)

American conceptual, activist and street artist John Fekner, whose art and his art partner Don Leicht were represented in the exhibition Street Art: Bansky & Co weighs in the controversy by saying:

  • The bottom line is: what’s done in public-doesn’t remain in public. There’s no protection for artists who trespass. It’s the chance one takes outdoors.
  • If you create illegal art murals, street rules are always in effect:
  1. You can’t stop a drunk in the middle of the night from pissing on your wall.
  2. You can’t stop a bulldozer from razing your work.
  3. You can’t stop a neighborhood anti-graffiti squad from painting over your work.
  4. You can’t stop a well-dressed thief in a suit, or their hired slug with a chisel from removing your wall work and hauling it off to their laird, garage, museum or art market.

“Under any circumstances, don’t immediately and irrationally react. If your original aspirations were to be an artist- then just do what you were meant to do: be an artist. Don’t double shift and be a night watchman patrolling the streets to try and thwart thieves of your work. Unique temporary outdoor creations engender a public conversation that includes everyone: art lovers and art haters, lowbrow and highbrow, and everyone who interacts with your public work.”

John Fekner (© John Fekner)

6.

Urban Nation Museum for Urban Contemporary Art Opens in Berlin – September 2017

We had the unique perspective of being two of the foundational curators who made this exhibition happen and made the doors fly open to thousands of visitors, so it only made sense that we covered the opening that brought much promise to the institutional recognition of Street Art, graffiti, and its move into Urban Contemporary.

From BSA

“Inundated!” Scenes from the Opening: UN – Urban Nation Museum For Urban Contemporary Art in Berlin

“This week is Art Week in Berlin, and you just stole Art Week,” said a handsome and intensely opinionated German to us as we leaned on the arm rail of the M.C. Escher-inspired walkway before a Carlos Mare139 sculpture and above the capacity crowd on Saturday night at the Urban Nation Museum of Urban Contemporary Art (UN).

Not sure if that was the exact goal, but we get his larger point; the UN has just made a massive entry into a number of societally and culturally influential minds when it comes to the relevancy of Street Art and graffiti to visual culture and art history. This movement into so-called Contemporary began as early as the 1970s and has overcome and weathered cultural and market ebbs and flows – persisted, if you will – yet somehow institutions have been wary of this work and these artists and unable to fully embrace their importance, you decide why.”

Urban Nation Museum For Urban Contemporary Art. Berlin. September 2017. (photo © Jaime Rojo)
Hot Tea’s installation. Urban Nation Museum For Urban Contemporary Art. Berlin. September 2017. (photo © Jaime Rojo)

7.

Five Pointz: A Legal Case For Urban Artists Shifts the Focus – February 2018

From BSA

Tell It to The Judge ; Graffiti Artists Win in 5 Pointz Case

“In a ruling that many graffiti and Street Artists interpret as a validation of their artwork and which may spawn further legal claims by artists in the future, Brooklyn Judge Frederic Block, a United States Federal Judge for the Eastern District of New York, awarded $6.7 million in damages to a group of 21 artists in the high profile case of the former graffiti holy place in Queens called 5 Pointz.

Under the leadership of artist and organizer Jonathan “Meres One” Cohen, also a plaintiff, the award is in response to a suit that cried foul on the overnight destruction of multiple artworks on building walls without consultation or notification of the artists.

Citing provisions of the 1990 Visual Artists Rights Act that grants artists certain “moral” rights, the artists claimed that their artworks on the 5 Pointz compound that was owned by real estate developer Jerry Wykoff were protected and should be afforded certain rights and considerations.

Arts and intellectual property lawyers and judges will now be examining the implications of the ruling and citing it as an example in arguments about art created on walls legally and possibly those created illegally as well. In a city that prides itself as being a birthplace of graffiti and Street Art, many artists and wall owners must ask themselves if there will need to be an additional layer of the agreement before an aerosol can is held aloft.”

5Pointz. LIC Queens. (photo © Jaime Rojo)
5Pointz. LIC Queens. (photo © Jaime Rojo)
5Pointz. LIC Queens. (photo © Jaime Rojo)

8.

The New York Times Publishes DONDI’S Obituary – February 2019

In an unprecedented posthumous publication of an obituary, this year The Times acknowledged something that it had so far failed to do; the contribution of graffiti writers to the cultural and art canons deserves serious recognition. By publishing the iconic image of DONDI taken by Martha Cooper that burned “Subway Art” into the mind’s eye of many generations of graffiti writers, the “paper of record” caught up with one the the scene’s leaders and heroes.

Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)

The NYT obituary of Dondi begins like this:

Donald Joseph White, considered a legend before “street art” became popular, turned New York City’s subways into rolling canvases of color, humor and social commentary.”

Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)


9.

Martha Cooper: A Picture Story Premieres at TriBeCa. A film by Selina Miles. April 2019

From BSA

MARTHA: A Picture Story. Shots from the Premiere and Movie Review

“First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:

Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.

The electricity was in the air as Director Miles and producer Daniel Joyce along with the just-arrived Australian members of the “Martha” crew looked for their seats in the Village East Cinema. After a brief introduction by Miles, who told the audience that the film had been a great pleasure to make, the curtain went up to reveal the mother of the superstar art twins Os Gemeos on the big screen. She is sitting at her kitchen table in São Paulo remarking how her boys used to draw on everything, including fruit, and how Cooper and Chalfant’s 1984 book “Subway Art” changed their lives forever. With their story as a backbone for the film, the theme of personal transformation is repeated in a hundred large and small ways for the next hour and twenty minutes. “

Martha Cooper “A Picture Story” TriBeCa Film Festival. April 2019. (photo © Nika Kramer)
Director Selina Miles with Martha Cooper. Martha Cooper “A Picture Story” TriBeCa Film Festival. April 2019. (photo © Nika Kramer)
Martha Cooper “A Picture Story” TriBeCa Film Festival. April 2019. (photo © Steven P. Harrington)

10.

Street Art and Activism Takes Larger Share of the Cultural Stage

This decade that is coming to an end has seen its share of natural disasters, human rights violations, atrocities of large scale against humanity, corruption at the highest levels, the reversal of hard-fought policies to protect the planet and keep our air and water clean. We have witnessed with despair the renaissance of hatred based on people’s nationalities, their skin color, their religion, their choice of attire, their level of material affluence and their sexual preferences.

We have seen progress as well. Women around the world have been freer to speak their mind against oppression and abuse of power thanks to social movements that have flourished around the world in big cities and small towns. Our LGBT brothers and sisters have scored numerous legal battles in their favor thanks to enlightened lawmakers and judges who have searched deep inside their intellect to find the right answer to make sure everybody is treated equally. Likewise, our peers whom we need to advance our cause have taken seriously the responsibility at the ballot box to make the correct choice with policies that will bring relief to those who have less than we do.

Art and artists have often reflected back to us the world we live in, it is for this reason that we have chosen Street Art and Activism as an important action in this decade. We have always championed the work of artists who imbued their art with a strong sense of social urgency. It is with their art that they talk to us in the hopes to change one mind, one action, one concept, one attitude towards the goal creating a common good. There are many of them currently active on the streets. This wouldn’t be the appropriate space to list all of them but we would like to give you some highlights:

No Borders: Murs Contra el Murs (Walls Against Walls)

Barcelona, February 2019.

From BSA:

“This past Sunday, February 17 at La Plaza de las Tres Chimeneas (Three Smokestacks Square) in Barcelona an international group of artists participated in the first ‘No Borders Festival.’

NO BORDERS is a grassroots organization that was created to raise awareness about the refugees, to demand their acceptance, and to raise funds through debates, art, and documentaries.

They say they want to raise the uncomfortable questions – which will undoubtedly lead to uncomfortable answers as well. To paraphrase the text on their website:

‘Do we settle for a society that violates its moral and legal obligations to refugees? A refugee is a person who flees – Flees because he is on the losing side. Because he thinks, feels or prays differently than those who point him with their weapons.’

As usual, artists are bringing these matters to the street for the vox populi to debate.”

Enric Sant. No Borders Festival. Barcelona, Spain. February 2019. (photo © Lluís Olive)

Andreco: Reclaiming Air and Water for Delhi, India “Climate 05”

New Delhi, March 2019.

From BSA:

An Art, Science and Climate Action project by Andreco

“And the statement isn’t hyperbole, according to AIR-Ink, the company that made his ink, which is “the first ink made entirely out of air pollution,” they explain on their website.

The unique art-making material is part of the Italian Street Artist / Activist’s most recent installment of his Climate Art Project, which he orchestrated on the streets here in New Delhi for the St+Art Festival this year. Part of a global, multi-city installation and demonstration, ‘Climate 05 – Reclaiming Air and Water’.”

Andreco. Climate Art Project. In collaboration with St+ART India Foundation. Delhi, India. March 2019. (photo Akshat Nauriyal)

“Post-Posters” Puncture Public Discourse in Strasbourg, France

Strasbourg, May 2019.

From BSA:

” ‘Actions Speak Louder Than Ass Ads,’ says a new stencil-style printed poster by New York’s epic, if sometimes cryptic, street commentator of four decades, John Fekner. Anyway, who will argue with that?

Post-posters is a cooperative proposition about public billposting,” says French conceptual street anarchist Matthew Tremblin about his new project with hit-and-run situationist street posterer Antonio Gallego. Together they reclaim space with individually produced posters and they invite artists from around the world to do the same.

Over a two month period the creative place-makers are facilitating an international crew of artists to post posters on the occasion of the double exhibition by Banlieue-Banlieue group* (°1982, Poissy) taking place in Strasbourg, at both AEDAEN and the Syndicat Potentiel. “

John Fekner . Carole Douillard. Post-Posters Project. Strasbourg, France. April 2019. (photo courtesy of Syndicat Potentiel)

Tatyana Fazlalizadeh: When the Lion Roars Back, a small overview

Brooklyn, NY. July 2019.

From BSA:

“By putting these images of people of color, women, LGBTQ+ folks on the street with their blunt-force sentiments addressed to would-be harassers, she not only stands with them, but Tatyana has also used her work and vision to give them the courage to stand proud, assert their voice and to take public space.

After all, it belongs to the public.

“Women are not outside for your entertainment”, a startling truth for some guys that pointedly highlights abusive behavior toward women on the streets of Brooklyn and many cities around the world. Brooklyn Street Artist Tatyana Fazlalizadeh has been targeting daily oppressive experiences of marginalized people with her campaigns of art on the streets – and in the gallery.

Addressing themes of social justice, racism, LGBTQ+ rights, and sexist street harassment, her beautifully drawn campaigns on wheat-pasted posters and painted murals across the globe have brought attention to issues sorely in need of addressing during hostile rhetoric from some men in the highest offices.”

Tatyana Fazlalizadeh (photo © Jaime Rojo)

Jetsonorama Tells “Stories From Ground Zero”

Church Rock, New Mexico. August 2019.

From BSA:

“This spill and these events did not happen in San Diego or Palm Beach. The story doesn’t affect wealthy white families and cannot be used to sell shampoo or real estate. That’s probably why we don’t see it in the press and never on the talking-head news. Street Artist Jetsonorama is not only a photographer who has been wheat-pasting his stunning images of people and nature on desert buildings for over a decade, he is also a doctor on the Navajo reservation, a human-rights activist, and an erudite scholar of American history as it pertains to the poisoning of this land and these people. Today we’re pleased to bring you this long-form examination from Jetsonorama’s perspective on a complicated and tragic US story of environmental poisoning and blight that affects generations of native peoples, miners, military personnel, and everyday people – and has no end in sight.

Most alarming is the news the current White House administration is endeavoring to mine uranium here again.

‘Private companies hired thousands of Navajo men to work the uranium mines and disregarded recommendations to protect miners and mill workers. In 1950 the U.S. Public Health Service began a human testing experiment on Navajo miners without their informed consent during the federal government’s study of the long-term health effects from radiation poisoning.  This study followed the same violation of human rights protocol as the US Public Health Service study on the long-term effects of syphilis on humans by experimenting on non-consenting African American men in what is known as the Tuskegee Syphilis Experiment from 1932 – 1972.’ ~ Jetsonorama”

JC with her younger sister, Gracie (who is a NBCS participant).  (photo © Jetsonorama)

BSA Special Feature: “REWILD” from Escif

Sumatra, Indonesia. September 2019.

From BSA:

“As part of our core commitment as a non-commercial platform that has helped hundreds of artists over the last decade+, BSA significantly helped Escif to raise money for his Indiegogo fundraiser in Spring 2017 when we promoted his “Breath-Time” horticultural project heavily as he planted trees to reforest Mount Olivella in Southern Italy.

Today BSA debuts REWILD, a new tree-related project by the Spanish Street Artists – just as the Global Climate March is spreading to cities around the world, including New York.

The concept of the short film is simple: can’t we just push the “Rewind” button?

‘The narrative runs in reverse, rewinding the clock on deforestation to undo the damage caused by the unsustainable production of one of the world’s most versatile commodities. Beyond the industrialisation of the land, we end at the beginning, a thriving ecosystem alive with wildlife. The concept mirrors the real world action of the Sumatran Orangutan Society and their partners in reclaiming land on the borders of the Leuser rainforests to rewild them with indigenous trees, expanding the boundaries of one of the most biodiverse places on earth.’  

Finally, a stunning custom soundtrack by Indonesian composer Nursalim Yadi Anugerah captures and carries this into another world, which is possible.

Shout out to the folks behind the project Splash and Burn: a cultural initiative curated by Ernest Zacharevic and coordinated by Charlotte Pyatt run in association with the Sumatran Orangutan Society and the Orangutan Information Centre.

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“Beyond The Streets” Opens in New York : Beyond Labels, With Roots

“Beyond The Streets” Opens in New York : Beyond Labels, With Roots

Look Who’s Back in the Neighborhood

They used to run from the Vandal Squad in this neighborhood. Now people pay to see their art here.

Through the expansive glass wall on the 6th floor you can look down Kent Avenue to see the spot where a monster pickup truck with a heavy chain tied around a FAILE prayer wheel almost jackknifed on the sidewalk, gave up and sped away. Not that many Brooklynites saw that event in the 2000s – nobody walked here and few people drove through Williamsburg then except truckers looking for street walking ladies wearing high heels and spandex. Oh, and a serial killer.

Faile. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

Now visitors buy tickets to see a circular colonnade of FAILE prayer wheels here at 25 Kent – including the real estate developers and Wall Street professionals who displaced the community of artists whose work made the neighborhood attractive and “edgy”.

Along with Street Artists in this exhibition like Shepard Fairey, Bast, Swoon, Invader, Aiko, Dan Witz, Katsu, 1UP, and Lister, the FAILE duo put completely illegal artworks on walls under cover of night and threat of arrest in this same neighborhood then – transforming it with many others who are not in this show into an open gallery of the streets, placing Williamsburg on the map as New Yorks’ epicenter of the newly emerging Street Art scene. 

Swoon. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

The Nature of Graffiti and Street Art

As graffiti and Street Art are migratory and necessarily elusive by nature, this story is only one chapter in a volume of history that serious academics are now reconstructing and analyzing. With each passing year and published white paper, the practices of 20th century public mark-making are being examined in greater detail for archiving and for posterity. Not surprisingly, institutions, patrons, collectors, and brands are increasingly interested in this story as well.

When it comes to the anarchic subculture of illegal street art practice and its influence on society, there are non-stop ironies sprayed en route from verboten to Vuitton, and street culture has supercharged the imagination of the mainstream and high culture throughout history – that’s where the best ideas come from sometimes. Many seminal artworks from “the scene”, as it were, represent much more than what you are seeing at first glance. As art and cultural critic Carlo McCormick has described the iconic Shepard Fairey ‘Hope’ image in Art in America, many graffiti and Street Art works saved are “not a fleeting pop-culture sensation but simply the latest crossover hit in a long line of underground classics.”

The wide-ranging survey that is Beyond the Streets makes sure that you know where the roots are, and who many of the pioneers were. It is impossible to tell a complete story that includes scenes as diverse as west coast Chicano muralism, hobo graffiti, hip-hop commercial design, NY downtown artivism, Japanese low/hi contemporary, skateboard, tattoo, early train writing and a current romance with muralism, but BTS at least gives a serious consideration to each and offers you the opportunity to look further into them.

Martha Cooper with BGirl Rockafelka. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

With the help of photography documentation from people like Martha Cooper, Henry Chalfant, Jim Prigoff, Lisa Kahane, Joe Conzo, John Fekner, Bill Daniel, Maripol, and Dash Snow, the crucial importance of this work provides needed interstitial and contextual information that enables myriad stories to be elucidated.

Joe Conzo. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

The Scale, The History

Exhaustive, no. Exhausting, possibly. Pace yourself.

 “I spent my life surrounded by graffiti and Street Art,” says the shows’ director Roger Gastman “and you could say that I have been obsessed with understanding the culture, its origins, and its evolution. It’s incredible to me how far it has come.”

With 150 artists whose practices span five decades and various (mainly) American subcultures displayed in a maze of new walls in this 100,000 sf, two-floor exhibition, the Beyond the Streets senior curatorial team includes Gastman, filmmaker/ graffiti historian Sacha Jenkins SHR, Juxtapoz Editor in Chief Evan Pricco, and author/ graffiti historian / graffiti writer David CHINO Villorente. Each curator brings core competencies and knowledge of the graffiti scene (Gastman, Jenkins, Villorente) as it has evolved to include the Street Art practice and an eventual move toward contemporary art (Pricco).

“It’s absolutely phenomenal,” says Villorente, who says his history as a graffiti writer compounds the impact for him. “I was glad that the show was coming to New York because I was born and raised in Brooklyn. I couldn’t have imagined it – especially when I think back on when I was writing on the trains and doing illegal graffiti. To have of show of this magnitude is really special.”

Mike 171. Beyond The Streets New York. June 2019. (photo © Steven P. Harrington)

“We started writing in ’68 and here we are, fifty-one years later,” says Mike 171 as he gestures toward himself and crew writer SJK 171 when talking about how they began and continued writing their tags on the street in New York City. “This is the history right here,” he says, and you know you are about to be schooled about the plain realities of early graffiti writing. At the opening, you witness each guy tagging in a large dusty window here and realize the love for writing never actually stops.

“We were expressing something that was inside of us,” says SJK 171. “The streets were like ours,” he tells you against a backdrop of their work, Cornbread’s work, and of images full of one color, single line monikers that set the stage for the more colorful, character-driven pieces and burners a decade later, transforming trains into a rolling aesthetic symphony by the mid 1970s.

Cornbread. Beyond The Streets New York. June 2019. (photo © Jaime Rojo). Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

One of the actual “whole car” writers of that period, Lee “LEE” Quinones, here recreates a “Soul Train” car side on a canvas that looks like it could easily wrap an actual MTA #2-line car that he used to slaughter with cans in the middle of the night at the train yard. When describing the new work he said he was intentionally keeping it simple – perhaps owing the style to his earlier practice.

Lee Quinones. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

“I think this is one of Lee’s most amazing pieces,” says Charlie Ahearn, the director of the seminal 1982 “Wild Style” film that Quinones stars in. Ahearn self-produced that film which became an important distillation of the merging of graffiti with hip-hop culture during a pivotal moment in the history of both. Now also a professor of Hip-Hop, art, design, and documentary film making at Pace University, Ahearn is familiar with many of the artists work here, many relationships reaching back decades. “I told Lee that I liked that it was a one-off, that he painted all the color straight off without the embellishment, texturing, and all that stuff.”

John and Charlie Ahearn. Beyond The Streets New York. June 2019. (photo © Steven P. Harrington)

Charlie’s twin brother John Ahearn is represented here popping out from walls as well, his sculptures serving as authentic portraits of people you may easily have seen on New York streets over the last four decades. Casted directly on top of the people themselves in a technique he has perfected, the placement of the sculptures gives life to the space.

Star Writers, Immersive Environments, Foundations

Dabsmyla. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

The individual clusters of work and canvasses by 1970s-80s train painters like Futura, Crash, Lady Pink, Freedom, Carlos Mare, Blade, Haze, and Daze and next gen graphic painters like Doze Green and Rime are complemented by a number of so-called “immersive” spaces here like the Mission Schools’ Barry McGee storefront with smashed window, and the Australian Pop duo Dabs & Myla’s eye candy floral walls with thousands of artificial fauna created in collaboration with Amelia Posada.

Myla. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Shepard Fairey. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

The high-profile graphic activist Shepard Fairey’s 30 year career overview takes a large area and encompasses all elements of his street and studio practice, and Bill Barminski’s cardboard home is open for you to explore with a wry smile, remembering the security room installation he did at Banksy’s Dismaland a couple years earlier.

Bill Barminski. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

You’re also treated to a full rolling wall of Craig Stecyk posters that brings you the sun and surf of California skate culture, sculptures by Mr. Cartoon and Risk, a kid-friendly illustrated room with crafting supplies for young fans on tables from HuskMitNavn, and an astute freight train culture educational display by writer/painter/sculptor Tim Conlon (complete with a mid-sized Southern Pacific freight on train tracks he and friends built), prints/photos by historian Bill Daniel, and original drawings by the man some call the King of Hobo Art, buZ blurr.

John Fekner. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

“These are a self portrait as predicated on a first Bozo Texino person and I kind of changed the image around,” says Mr. blurr, a legendary figure in denim overalls, as he patiently describes his classic tag image of a railway cowboy.

“It is a writer motif – the pipe smoke is going up and then it is trailing back to signify movement as the train goes down the track,” he says. “I worked in the train yards and my job was as a brakeman. I had a little free time so I started making drawings. I made my first one on November 11, 1971,” he says as he recalls the state of mind that he was in at the time as he began to tag freights with the image and text that came to him clearly – and may have perplexed other travellers.

buZ blurr. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

“They came from a confused state. I was questioning everything. I was putting kind of cryptic messages under my drawings. It was anybody’s guess as to its literal interpretation. I addressed some of them up to specific people but whether they saw them or responded to them, I wouldn’t have any idea.”  

Tim Conlon. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

“When it’s shipped in the crate its 550 pounds,” says Conlon as he stands by the 3-foot high freight car re-creation on tracks and ties that is hit with a couple of wild and colorful graffiti burners. “Here I’m going to show you something,” he says as he pulls back the roof to reveal the narrow coffin interior in rusted red. “So I’m going to hide some beer in here during the opening party. This is like the fifth one of these I’ve made,” and he proudly confides that one lives in the house of Robert Downey Jr.

Digging Deep to Take Risks

Not content to rest on laurels and previous formulas of success, the show keeps a freshness by presenting known entities pushing themselves further and taking creative risks; a reflection of that spirit of experimentation we have always prized on the street.

Graffiti writer Earsnot from Irak crew, now known professionally as Kunle Martin, said he had been making work for the gallery containing elements of graffiti, but felt they were too “safe”.

Kunle Martin AKA Earsnot. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

“Then my friend Dan said ‘you should go back to doing drawings,’” he says as he stands before figurative canvasses in black and white on cardboard. “I said ‘I can’t! It’s too hard! But eventually I began working in my studio five days a week, and I made enough for a show.”

Reflective of the attitude of Gastman toward artists in the community, he told Martin that if he made enough of them, he could place them in this show. “I think he was happy to hear that I was in my studio working. He’s been very supportive of it.”

Kunle Martin. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

A fluorescent color-drenched graphic/photographic collage style is featured with plenty of space in large frames from Chicago’s Pose, who says he is letting photography and geometry lead him away from his previous pop collage style that may have reminded many of Lichtenstein. His inspiration here comes from his research into early photos of graffiti writers running from police “I was obsessed with John Naars photos and I have usually Norman Mailer as in inspiration. Some of these photo references are from the Philadelphia Inquirer,” he says.

Pose. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Pose. Beyond The Streets New York. June 2019. (photo © Steven P. Harrington)

New York’s Eric Haze also dares himself to take a new direction with three canvasses featuring a refracted piecing-together of imagery and memories of this city in monochrome. Based on black and white scenes of the city by photographer and NYC taxi driver Matt Weber, the scenes capture aspects that are culled from imagination and impression. The centerpiece canvas captures an iconic piece of the Williamsburg waterfront that has been removed in the last few years by developers; the signage of the old Domino Sugar factory by the Williamsburg Bridge.

Haze. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

Mr. Haze said he meant it as a gift and tribute to his wife, actress and longtime resident of the neighborhood, Rosie Perez who used to see it along Kent Avenue as a kid.  “He’s not afraid to take risks. He’s not afraid to go in the studio and express what’s inside of him. When he brought me to the studio, he says, ‘I have a surprise for you’,” she remembers. “I saw the beginnings of the Domino painting and I was stunned into silence and I got teary-eyed.”

Rosie Perez. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

Beyond Labels

An expanded version of the show that first mounted in Los Angeles last year, the collection is focused a great deal on the American history of graffiti with a balance of East/West coast graffiti history – in a way that may remind you of 2011’s “Art in the Streets” at LA MoCA. That makes sense, considering Gastman co-curated that show as well.

“It’s both a historical and current look at where the culture went and where it started and how widespread it is,” says co-curator Evan Pricco, who perhaps provides a lynchpin view toward the big name Street Artists who continued to push expectations in the 2000’s on streets and in commercial galleries around the world. “With the space spread over two floors it has a way better curatorial sense. I also think it does compete with museums because it shows that this kind of work is on the same level. You kind of have to present it in a way that feels very institutional and archival.”

So is Beyond the Streets a graffiti show or a Street Art show or a contemporary art show? For artist Kenny Scharf, who first gained attention during the heyday of Downtown Manhattan’s art scene that benefitted from an interlude where rents were dirt cheap and Wall Street was on a cocaine high, there is no need to categorize what kind of art this is.

Kenny Scharf. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

“You know I never liked labels or titles anyway so even back in the early 80s I was pegged like ‘oh you’re a graffiti artist,’” he says. “People feel the need to title and label so I’ll let them to continue to do that but I don’t fit into any of them and I don’t want to. I want to fit into all of them and none of them.”

Beyond the Streets opened June 21 and continues through the summer.

MADSAKI. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Blade and Doze Green. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Katsu. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Gajin Fujita. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Faith XLVII. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
John Ahearn. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Jane Dickson. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Dan Witz. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
1UP Crew…it’s always a good thing to have your friends near by when you need them the most… Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
1UP Crew. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)ork. June 2019. (photo © Jaime Rojo)
Cleon Peterson. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Conor Harrington. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Felipe Pantone. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Beastie Boys. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Nekst . Risk. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Bast . Paul Insect. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Invader. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Ron English. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Patrick Martinez. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Dust tagger. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
Martha Cooper with Freedom. Beyond The Streets New York. June 2019. (photo © Jaime Rojo)
What’s left and soon to be gone of the old Williamsburg’s waterfront right across from Beyond The Streets New York. June 2019. (photo © Jaime Rojo)

Martha Cooper’s work as exhibited at Beyond The Streets New York

Beyond The Streets NYC is now open in Williamsburg, Brooklyn to the general public and will run until August 2019. Click HERE for schedules, tickets and details.

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“Beyond The Streets” Comes To Brooklyn in June

“Beyond The Streets” Comes To Brooklyn in June

Gastman’s Massive Graffiti and Street Art Show Arrives at Epicenter.

“I’m really excited to bring this show to New York,” says curator, graffiti historian and urban anthropologist Roger Gastman, “because the city plays such a pivotal role in the origin and evolution of the culture. The iconic images of covered subway cars made graffiti famous worldwide.”

Style Wars Car by NOC 167 with Door Open, Man Reading Newspaper, 96th Street Station, New York, NY, 1981. (photo © Martha Cooper)

He’s talking of course about “Beyond The Streets” the hybrid exhibition that he mounted in LA last year featuring the work of 150 who have proved to be pivotal to the evolution of a fifty year global people’s art movement that includes graffiti, street art, and urban contemporary art. Filling over 100,000 square feet of new space in Brooklyn, this two-floor cross-section survey will feature artworks by many of the same vandals, graffiti writers, Street Artists, and art activists who hit NYC streets, created dialogue with passersby, and were sometimes chased by the authorities. To see them showcased here is to recognize that there is not just one route to take – in fact there are many.

Guerrilla Girls at Abrons Art Center, New York, 2015. (photo © Andrew Hindrake)

“We have an incredible roster of artists for New York,” Gastman tells us, “and a brand new space in Williamsburg that has a stunning view of the Manhattan skyline as our backdrop.” Notably the lineup includes artists whose work BSA has documented on the streets in this very same neighborhood over the past two decades, including Shepard Fairey, Faile, Swoon, Bast, Invader, Aiko, and others. Ironically the appearance of free-range Street Art in the neighborhood has been seriously diminished since that time.

The exhibition is one more verification that a significant portion of the scene is being widely recognized for its cultural contribution and value in the contemporary art canon – a significantly fluid scene fueled by discontent and a desire to short-circuit the established routes to audience appreciation. Like large survey shows elsewhere, the takeaway is the significant impact street culture and its tangential subcultures continues to have on the culture at large.

Lil’ Crazy Legs during shoot for Wild Style, Riverside Park, NY, 1983. (photo © Martha Cooper)

Gastman says the New York version of “Beyond The Streets” will take an additional interest at the role of music and art activism on the street, along with immersive installations, a tattoo parlor, a special Beastie Boys installation with artifacts and ephemera, a new 30th Anniversary Shepard Fairey project “Facing The Giant: 3 Decades of Dissent,” and large scale works by Gorilla Girls, Futura, Cleon Peterson, and Takashi Murakami. 

More news coming on programming and events, but the important opening date to know right now is June 21st.

“All in all, it will make for a really special show this Summer,” says Gastman.


BEYOND THE STREETS TEAM

Curator: Roger Gastman

Co-Curators: Sacha Jenkins SHR, Evan Pricco, David CHINO Villorente

Producer: Ian Mazie & Pressure Point Creative


Tickets and hours of operation can be found at: BEYONDTHESTREETS.COM


FEATURED ARTISTS INCLUDE:

A-ONE, AIKO, Al Diaz, Alexis Ross, Alicia McCarthy, André ​Saraiva, Barry McGee, BAST, Beastie Boys, Bert Krak, Bill Barminski, Bill Daniel, BLADE, Broken Fingaz, Buddy Esquire, buZ blurr, Carlos Mare, Carl Weston, Cey Adams, C.R. Stecyk III, Charlie Ahearn, Chaz Bojórquez, Claudia Gold, Cleon Peterson, COCO 144, Conor Harrington, Corita Kent, Craig Costello, CRASH, DABSMYLA, Dan Witz, Dash Snow, DAZE, DEFER, Dennis Hopper, Dondi White, Doze Green, EARSNOT, Estevan Oriol, Fab 5 Freddy, FAILE, Faith XLVII, Felipe Pantone, FREEDOM, FUTURA 2000, Gajin Fujita, Glen E. Friedman, Gordon Matta-Clark, Guerrilla Girls, HAZE, Henry Chalfant, Herb Migdoll, Husk Mit Navn, INVADER, Jane Dickson, Jason REVOK, Jean-Michel Basquiat, Jenny Holzer, Jim Prigoff, John Ahearn, John Fekner, John Tsombikos, Joe Conzo, José Parlá, KATS, KC Ortiz, Keith Haring, Kenny Scharf, Kilroy Was Here, LADY PINK, LAZAR, LEE Quiñones, Lisa Kahane, MADSAKI, Maripol, Mark Gonzales, Mark Mothersbaugh, Martha Cooper, Matt Weber, Maya Hayuk, Michael Lawrence, MIKE 171, MISS 17, Mister CARTOON, Nina Chanel Abney, NOC 167, Pat Riot, Patrick Martinez, Paul Insect, POSE, PRAY, Rammellzee, Randall Harrington, RETNA, Richard Colman, Richard Hambleton, RIME, RISK, Ron English, Ruby Neri, SABER, Sam Friedman, SANESMITH, Sayre Gomez, Shepard Fairey, SJK 171, SLICK, SNAKE 1, SNIPE1, STAY HIGH 149, Stephen Powers, SWOON, Takashi Murakami, TAKI 183, TATS CRU, TENGAone, Tim Conlon, Timothy Curtis, Todd James, Trash Records, UGA, VHILS, and ZESER

The show is developed in partnership with Adidas and Perrier. Additional support provided by Modernica, Montana Colors, NPR, NTWRK, Twenty Five Kent and WNYC.

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Astronaut Street Art : Ground Control To Major Tom…

Astronaut Street Art : Ground Control To Major Tom…

Aside from signing the Outer Space Treaty that was ratified by 107 nations in which member states promise to not militarize the celestial heavens, US Vice President Pence tried to pull a fast one last week by announcing an idea for a US Space Force, the 6th branch of US Armed Forces.

Evidently being in 7 wars right now on Earth isn’t enough for the masters of war. There is surely more money to be made by further bloating a global weapons industry that focuses primarily on destruction rather than construction.

Victor Ash. Berlin, Germany. (photo © Jaime Rojo)

What is Mike Pence needing defense from exactly? Gays? Gay aliens? Intelligent assertive women? African-American or immigrants struggling to make ends meet, living day-to-day from paycheck to paycheck? We decided to take the whole ridiculous announcement with humor and found ourselves pawing through the archives for Street Art images of astronauts. We found many!

As we contemplate war in space, we turn to our collective fascination with astronauts and cosmonauts and nauts of many kinds. Since the dawn of this popular spaceman fixation there has been this guy or gal floating around weightless in our collective imaginations, bouncing along at the end of his tether, or untethered altogether.

Victor Ash. Berlin, Germany. (photo © Jaime Rojo)

Toven. Baltimore, USA. (photo © Jaime Rojo)

Toven. Baltimore, USA. (photo © Jaime Rojo)

B.D. White. NYC (photo © Jaime Rojo)

Axolotl Collective. Mexico City. (photo © Jaime Rojo)

City Kitty. NYC (photo © Jaime Rojo)

Cranio. Berlin, Germany. (photo © Jaime Rojo)

Topaz. NYC (photo © Jaime Rojo)

The London Police. Boras, Sweden. (photo © Jaime Rojo)

Tristan Eaton in Collaboration with CYRCLE. NYC (photo © Jaime Rojo)

Joe Iurato. NYC (photo © Jaime Rojo)

Faile. NYC (photo © Jaime Rojo)

 

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“Beyond The Streets” Exhibition : Gastman’s Train Pulls In to LA

“Beyond The Streets” Exhibition : Gastman’s Train Pulls In to LA

A steel-wheeled graffiti train with Roger Gastman at the controls roars into LA’s Chinatown for a two-month stay at this station, a 40,000 square foot warehouse that houses “Beyond the Streets.” Originating at the streets and train yards of the 1960s and 70s, this express survey carries with it 100 or so artists and writers from across the last five decades as practitioners of graffiti, Street Art, and mural painting. Somehow, everyone gets represented.

Beyond The Streets. (photo © Martha Cooper)

Opening night featured many of the names associated with its earliest beginnings of the New York /Philadelphia graffiti scene like Cornbread, Taki183, Futura, Lady Pink, filmmaker Charlie Ahearn, among many others, including photographer Martha Cooper, who in addition to being an artist in the show, shares these photos with BSA readers. She also extensively shares her photos for the accompanying show catalog,  providing documentation from the scene that exist nowhere else.

Retna. Beyond The Streets. (photo © Martha Cooper)

A diverse and almost overwhelming series of displays present the works in a way that can only hint at the thousands of artists who built this story, necessarily viewed through a wide lens: sculpture, photography, installations, and multi-media all join the canvasses and ephemera and Gastman’s collection of vintage paint cans. Smartly planned for the selfie generation, large pieces are presented almost as backdrop ready to be Instagrammed; a direction coming from the “Photos Encouraged” sign that is next to the wall covered with Retna’s original alphabet near the entrance.

Beyond The Streets. (photo © Martha Cooper)

Somewhat of a rejoinder to Art in the Streets, the eponymous graffiti and Street Art exhibition in 2011 at LA MoCA, Beyond the Streets takes a focused look at the multitudinous peoples’ art movement from the perspective of one of that first shows’ original curators, Roger Gastman. When arranging the two month exhibition that closes July 6th, Gastman says that his focus was to celebrate those with street cred, in terms of individual practice, and to combine that requirement with a respectable semblance of a studio practice.

Ultimately he looked for artists who have used their particular approach to expand the definition of art in the streets in some way. That definition by now has become quite wide and it’s also a tall order for any curator to find the common themes here and present them in a cohesive manner.

Beyond The Streets, compiled by Roger Gastman.

Both the accompanying catalog and exhibition take a welcome stance toward educating the audience in many ways, helping the viewer to decode this freewheeling graffiti and mark-making history with basic vocabulary terms, historical events, pop culture inflexion points and examination of tools of the trade all adding context. Catalog essays and interviews are incisive and enlightening, including wit, sarcasm and even the occasional admonishment – notably in the essay by author, filmmaker, and curator Sacha Jenkins, who has been documenting the graffiti scene for a least a couple of decades.

Studying the move of some artists from street practice to commercial gallery that began in earnest with early NYC train writers transitioning to canvasses in the early 1980s, Jenkins upbraids a disgruntled faction among old-school graffiti writers who he characterizes as perhaps intransigent in their stylistic evolution and unwilling to adapt with the game. Later in his essay he lambasts the overtly pleasant and narcissistic cultural newcomers who he sees as milk-toasting the scene with their adoration of pretty murals and shallow sentiments, obtusely ushering in gentrification and “leading up to hearing about how my mother’s building is going to get bulldozed for a hip residential building that has a hot tub in every apartment.” He also may be the only writer here so openly addressing race and class distinctions present during the evolution of the scene and now.

Beyond The Streets. (photo © Martha Cooper)

The selection of artists and writers in the book and exhibition, many of them friends and colleagues with whom Gastman has worked with in the past, offers a rewarding and accessible panoply of styles and views. With some study the visitor understands connections in a widely dispersed multi-player subculture that coalesced and continuously changed its shape and character. But even if they don’t, they still get an amazing amount of eye candy.

The catalog offers extensive sections like those devoted to The History of Spraypaint and Graffiti in Galleries, and offers petite exegesis on influencing factors and benchmarks that shaped the art form’s route like Mobile DJs, The ’77 NYC Blackout, the European graffiti scene and graffiti’s role in gang culture, hip-hop and hardcore music. The compilation aids and supports the fullness of a story that frankly requires many voices to tell it. Gastman even gives forum and exhibition space to activist and defiant guerilla gardener Ron Finley and the holistic urban horticultural oases that he creates in South Central LA, calling it his form of graffiti in empty lots of the city.

Martha Cooper with Taki 183. Beyond The Streets. (photo courtesy of Martha Cooper)

With insightful interviews of artists in the exhibition from talented writers like Caleb Neelon, Caroline Ryder, John Lewis, Alec Banks, Evan Pricco, John Albert, Shelly Leopold, and Gastman himself, there are enough colorful anecdotes and decisive signposts en route to help tell the stories of the artists and their individual approaches to the street.

“The artists do not share a singular style, since they are primarily united by a common element of their personal biographies – the fact that they once made their art in the streets,” says self-described novice to the Street Art / graffiti world, Adam Lerner, the Director and Chief Animator at the Museum of Contemporary Art Denver. “There are, however some threads that run through the works.”

Beyond the Streets will help visitors find some of those threads for themselves and undoubtedly they will forge their own interpretation of art in the streets.

Faile. Beyond The Streets. (photo © Martha Cooper)

Invader. Beyond The Streets. (photo © Martha Cooper)

Slick. Beyond The Streets. (photo © Martha Cooper)

Takashi Murakami with Madsaki, Snipel, Tenga One and Onesker. Beyond The Streets. (photo © Martha Cooper)

Lady Pink. Beyond The Streets. (photo © Martha Cooper)

Charlie Ahearn . Futura . Lady Pink. Crash. Beyond The Streets. (photo © Martha Cooper)

Mr. Cartoon. Beyond The Streets. (photo © Martha Cooper)

Futura. Beyond The Streets. (photo © Martha Cooper)

Futura takes a photo of Haze’s art work. Beyond The Streets. (photo © Martha Cooper)

Niels Shoe Meulman. Beyond The Streets. (photo © Martha Cooper)

Ron Finley’s Gansta Gardener installation. Beyond The Streets. (photo © Martha Cooper)

Corn Bread. Beyond The Streets. (photo © Martha Cooper)

Corn Bread. Beyond The Streets. (photo © Martha Cooper)

 

Crash . Daze. Beyond The Streets. (photo © Martha Cooper)

Katsu. Beyond The Streets. (photo © Martha Cooper)

Bill Barminski. Beyond The Streets. (photo © Martha Cooper)

Faith XLVII. Beyond The Streets. (photo © Martha Cooper)

Shepard Fairey. Beyond The Streets. (photo © Martha Cooper)

Jenny Holzer, Flashlight (In Collaboration With A-One). Beyond The Streets. (photo © Martha Cooper)

Blade. Beyond The Streets. (photo © Martha Cooper)

Aiko. Beyond The Streets. (photo © Martha Cooper)

Al Diaz. Beyond The Streets. (photo © Martha Cooper)

Barry Magee. Beyond The Streets. (photo and video below © Martha Cooper)

 

Beyond The Streets. (photo © Martha Cooper)


For more information please visit https://www.beyondthestreets.com/

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Magda Danysz Brings “Art From The Streets” to Singapore Art Science Museum

Magda Danysz Brings “Art From The Streets” to Singapore Art Science Museum

“Art From the Streets”, an exhibition at the Art Science Museum in Singapore opened this weekend to coordinate with Singapore Art Week that runs from tomorrow until the end of the month with fairs, festivals and art exhibitions. Commercial art dealer and writer Magda Danysz curated the show with names she represents and whom you will be familiar with – Banksy, Shepard Fairey, Faile, and Futura, for example.

Two versions of the catalogue, one by Felipe Pantone, the other by Futura, are available on the Magda Danysz website .

But she also brings an eclectic mix of others on her roster and possibly lent from some private collections. Collectively they span many of the high profile, the saleable and known over the past 5 decades from various disciplines and philosophical practices; In the case of Jacques Villeglé, whose practice of lacerating posters in the 1960s predates Failes’ by 4 decades, a lineage can be drawn. Other connections are not as easy.

Ultimately the collection gives a sense of the vast number of personalities and techniques that have characterized the street practice in Europe and North America primarily without focusing on any one specialty too greatly. Here are the revered names along with mid-career folks and current darlings who are sure to leave a mark. There is also a small inclusion of more regional favorites like Eko Nugroho from Indonesia, and Singapore’s Speak Cryptic, who each were on hand this weekend with many of the artists for the opening.

Giving tours with microphone in hand during the opening days, the energetic Ms. Danysz educates new fans and potential buyers about an organic artists scene that grew from the streets and is now more frequently being offered for sale in places such as her three gallery locations in London, Paris, and Shanghai. Today it is slowly appearing more often in museums as well.

“Conscious that promotion of the emerging scene is necessary, Magda Danysz took part in many fairs,” says a press release, “such as for example Art Brussels, Arte Fiera in Bologna, Artissima in Torino, Fiac in Paris or Pulse in New York, and is one of the four galleries at the origin of the Show Off Paris art fair.”

This weekend’s activities included short presentations panel discussions and a screen of Wild Style.

Art from the Streets tickets are $17.00 on the Marina Bay Sands website.


A complete list of artists varies online with artists listed on the museum website including:

Banksy, Tarek Benaoum, Stéphane Bisseuil, Blade, Crash, Speak Cryptic, D*face, Fab 5 Freddy, FAILE, Shepard Fairey (aka Obey), Futura, Invader, JR, L’Atlas, Ludo, M-City, Nasty, Eko Nugroho, Nunca, Felipe Pantone, Quik, Lee Quinones, Blek le Rat, Rero, Remi Rough, André Saraiva, Seen, Seth, Sten Lex, Tanc, Hua Tunan, Yok & Sheryo, YZ, Zevs “and many more“.

Elsewhere online the roster is said to include 2Koa, Jef Aérosol, Ash, André, A-One, Aplickone, Banksy, Benjamin Duquenne, Tarek Benaoum, Stephane Bisseuil, Blek Le Rat, Boulaone, C215, Crash, Dface, Dondi, Dran, Eror729, Shepard Fairey, Faile, Futura, Keith Haring, Isham, Jayone, Jonone, Jr, Katre, Kaws, L’atlas, Lem, Ludo, Barry Mc Gee, Mikostic, Miss.Tic, Mode 2, Steve More, Nasty, Nord, Yoshi Omori, Os Gemeos, Psyckoze, Quik, Rammellzee, Recidivism, Rero, Remi Rough, Seen, Seth, Skki, Sore, Space Invader, Spazm, Spécio, Swoon, Tanc, Toxick, Vhils, Jacques Villeglé, Nick Walker, West, Yz, Zevs, Zhang Dali, Zlotykamien and Zuba.

 

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BSA Images Of The Week: 12.03.17

BSA Images Of The Week: 12.03.17


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While You Were Sleeping is a Korean TV series about a woman who can see the future in her dreams, and a prosecutor who fights to stop these future events from happening. The title also makes us think about the scam of a Tax bill passed while you were sleeping in the middle of the night between Friday and Saturday.

The servants of the rich, these wolves, are facilitating the largest transfer of wealth from the poor and middle class up to their masters for well into the future, and it appears that few are awake to see it. It also pulls health insurance out from underneath 13 million sleeping people. The majority of the country was against this but the servants pushed it through anyway when you weren’t stirring. Good night!

When the US had its largest growing middle class and economic expansion in the 1950s the top tax rate was more than 90%. Did you know that? Reagan lowered it to 39%. This bill lowers the top rate to 20%. Since as a group, hundreds of corporations paid an effective federal income tax rate of just 21.2 percent over a recent eight-year period because they’re working the system, that means many won’t pay any taxes soon, joining GE, Priceline.com, PG&E – who already pay absolutely nothing. Just you will pay the taxes. Congratulations!

Street Art better be dope ya’ll, because that’s where many of us will be living soon – the street.

But we are wide awake for sex scandals, by golly. Powerful men are being accused by past alleged victims from every sector in society right now. We are keeping our fingers crossed that Santa Claus can stay above the fray!

Meanwhile, the tree got lit this week in Rockefeller Center, a lot of people are going to get lit this month at their office holiday party, many NYC art denizens are heading to the Miami Basel Circus this week, and apparently there is supposed to be some Street Art thing happening there too.

Here’s our weekly interview with the streets, this week featuring BD White, Daek, Elbi Elem, Elisa Capdevila, Faile, Jason Woodside, Jerkface, Kai, Killjoy, Magda Love, Mazatl, Mr. Toll, Ola Kalnins, Praxis, Timothy Goodman, and Sonni.

Our top image : Timothy Goodman (photo © Jaime Rojo)

B.D. White for The L.I.S.A. Project. (photo © Jaime Rojo)

B.D. White for The L.I.S.A. Project. (photo © Jaime Rojo)

Mr. Toll. Vanity Project. This piece is visible from the street level in front of Crest Hardware in Williamsburg. (photo © Jaime Rojo)

Elisa Capdevila for Contorno Urbano in Sant Feliu de Llobregat. Barcelona. (photo © Jaime Rojo)

Elbi Elem for Contorno Urbano in Sant Feliu de Llobregat. Barcelona. (photo © Jaime Rojo)

Jerkface (photo © Jaime Rojo)

Magda Love and Sonni (photo © Jaime Rojo)

Praxis (photo © Jaime Rojo)

Praxis. Detail. (photo © Jaime Rojo)

Praxis. Detail. (photo © Jaime Rojo)

Kai (photo © Jaime Rojo)

Unidentified artist in the NYC Subway. (photo © Jaime Rojo)

Ola Kalnins (photo © Jaime Rojo)

Jason Woodside (photo © Jaime Rojo)

Faile (photo © Jaime Rojo)

Faile (photo © Jaime Rojo)

Killjoy collabo with Mazatl in Cholula Puebla for La Linea Street Art. (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

Daek (photo © Jaime Rojo)

Untitled. Lower East Side of Manhattan, NYC. December 02, 2017. (photo © Jaime Rojo)

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BSA “Images Of The Year” for 2016 (VIDEO)

BSA “Images Of The Year” for 2016 (VIDEO)

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Of the thousands of images he took this year in places like New York, Berlin, Dresden, Moscow, Marrakesh, Detroit and Miami, photographer Jaime Rojo found that the figurative image still stands prominently in the Street Art scene – along with text-based, abstract and animal world themes.

Surprisingly the scene does not appear to be addressing the troubled and contentious matters of the political and social realms in a large way, but the D.I.Y. scene keeps alive and defies the forces of homogeneity with one-of-a-kind small wheat-pastes, stencils, sculptures, and aerosol sprayed pieces alongside the enormous and detailed paintings that take days to complete.

Every Sunday on BrooklynStreetArt.com, we present “Images Of The Week”, our regular interview with the street. Primarily New York based, BSA interviewed, shot, and displayed images from Street Artists from more than 100 cities over the last year, making the site a truly global resource for artists, fans, collectors, gallerists, museums, curators, academics, and others in the creative ecosystem. We are proud of the help we have given and thankful to the community for what you give back to us and we hope you enjoy this collection – some of the best from 2016.

Brooklyn Street Art 2016 Images of the Year by Jaime Rojo includes the following artists;

1Up, Above, Adele Renault, Alaniz, Amy Smalls, George Vidas, GEN2, Apexer, BordaloII, Buff Monster, C215, Collin Van Der Sluijs, Super A, David Choe, D*Face, Duke Riley, El Sol 25, Sean 9 Lugo, EQC, Faile, Faith47, Faust, Shantell Martin, Felipe Pantone, Hueman, Droid907, Icy & Sot, InDecline, Invader, JJ Veronis, Jilly Ballistic, John Ahearn, JR, London Kaye, Louis Masai, MadC, Marshal Arts, Mongolz, MSK, Rime, Myth, Nina Chanel, Optic Ninja, Otto Osch Schade, Panmela Castro, Plastic Jesus, QRST, Reed b More, Remi Rough, REVS, Self Made, Sharon Dela Cruz, Maripussy, Specter, Stikman, Strok, Swoon, Ted Pim, Thievin’ Stephen, Farin Purth, Thomas Allen, Tobo, Uriginal, Vermibus, Vhils, Wing, Yes Two, Zola.

The artist featured on the main graphic is D*Face as shot by Jaime Rojo in New York.

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BSA Images Of The Week: 10.23.16

BSA Images Of The Week: 10.23.16

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We have an unusually high number of “Unidentified Artist” pics this week along with some new names – which to us means the streets are alive and changing again, responding to new voices. Of course it is good to see some of the more familiar players as well.

So here’s our weekly interview with the streets, this week featuring Astro Naut, BelowKey, BenFGraphic, BustArt, Cern, Faile, Free the Hearts, GB Pigeon, Megavote, Panmela Castro, SheWolf, Specter, Tatiana Fazlalizadeh, Who is Dirk.

Our top image: Panmela Castro borrows a phrase from Hillary Clinton to make her point. Or did Hillary borrow it from Panmela? (photo © Jaime Rojo)

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Tatiana Fazlalizadeh (photo © Jaime Rojo)

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Specter updates the Yusuf Hawkins mural again. See our story on the last time he did this here. (photo © Jaime Rojo)

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Faile through the window (photo © Jaime Rojo)

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GB Pigeon (photo © Jaime Rojo)

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“The Thinker” from Bustart (photo © Bustart)

“I just finished a huge wall for the Kettenreaktion,” Bustart says. “This is an art project in a abandoned factory in Switzerland. The last two months lots of artist were working in and on the factory and made installations, paintings, performances and much more. After the transformation the area will be open for cultural events. For more information please click HERE.

 

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Bustart (photo © Bustart)

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Unidentified Artist (photo © Jaime Rojo)

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Stikman (photo © Jaime Rojo)

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Unidentified Artist (photo © Jaime Rojo)

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Unidentified Artist (photo © Jaime Rojo)

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Unidentified Artist. A miniature piece can be just as impressive as the largest of murals. Is this vandal tossing an aerosol can? (photo © Jaime Rojo)

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Shewolf (photo © Jaime Rojo)

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Belowkey (photo © Jaime Rojo)

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Unidentified Artist. Good luck cat. (photo © Jaime Rojo)

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Who Is Dirk (photo © Jaime Rojo)

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Unidentified Artist (photo © Jaime Rojo)

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CERN (photo © Jaime Rojo)

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Ben F Graphic (photo © Jaime Rojo)

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Megavote (photo © Jaime Rojo)

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Unidentified Artist (photo © Jaime Rojo)

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Astro Naut at an abandoned factory in Reggio Emilia, Italy. (photo © Astro Naut)

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Astro Naut at an abandoned factory in Reggio Emilia, Italy. (photo © Astro Naut)

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Loose lips sink ships! Lip Slip (photo © Jaime Rojo)

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Utitled. SOHO, NYC. October 2016. (photo © Jaime Rojo)

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BSA Images of the Week 10.09.16

BSA Images of the Week 10.09.16

brooklyn-street-art-fin-dac-jaime-rojo-10-09-2016-web

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Donald Trump didn’t change. Your “News” did.

Any New Yorker on the street can tell you that Donald Trump has always been this way – he hasn’t made a “secret” of it. We just called this stuff “tabloid news”, and tabloids were an exception. Now they nearly rule all public discourse.

Lowest-common-denominator “News” has produced a lowest-common-denominator candidate. He almost clinched the highest elected office. There is a trail of polarized destruction in the wake.

For over a year this profit-driven entertainment media actually created a cancerous candidate who gives them daily “clickable content” while they hold their noses and count the dollars. These people aren’t serving you, or democracy. We are all collectively debased – men and women, black and white, Mexican and Muslim, rich and poor, families, children, teachers, workers, nurses, doctors, cashiers, church people, atheists – as a result.

The GOP’s flirtation with starting and fanning racist bonfires over the past decade or so has finally swallowed it in flames, leaving it in smoking embers, their leaders completely covered with fecal matter, quieted and stunned. The reputation of the US around the world took a battering thanks to this tabloid news candidate as well. Traveling to Street Art events outside the US this year, invariably someone would shake us by the lapels and ask us what the hell was going on with this Trump guy?!.

In recognition of the woman-hating man who came dangerously close to the White House, here are a number of different women and girls by Street Artists creating in the public sphere at the moment, covering a range of styles, backgrounds, techniques and points of view.

So, here’s our weekly interview with the street, this week featuring Beast, Danielle Mastrion, Faile, finDAC, Jilly Ballistic, Kevin Lyons, Leticia Mondragora, LMNOPI, Marina Capdevila, Myth, Never Crew, Ouch, Shepard Fairey, Sipros, Slick, Spaik, Stray Ones, Taker, Who’s Dirk, and Zimer.

Our top image: FinDac (photo © Jaime Rojo)

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Shepard Fairey. Detail. For The L.I.S.A. Project in The East Village. (photo © Jaime Rojo)

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Shepard Fairey. The L.I.S.A. Project in The East Village. (photo © Jaime Rojo)

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Zimer (photo © Jaime Rojo)

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Danielle Mastrion and Lexi Bella collaboration. (photo © Jaime Rojo)

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Beast (photo © Jaime Rojo)

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Faile (photo © Jaime Rojo)

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LMNOPI (photo © Jaime Rojo)

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Leticia Mandragora (photo © Jaime Rojo)

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Marina Capdevilla in Switzerland for Vision Art Festival. (photo © Marina Capdevila)

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Myth (photo © Jaime Rojo)

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Myth (photo © Jaime Rojo)

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Stray Ones (photo © Jaime Rojo)

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Stray Ones. Catch him if you can! (photo © Jaime Rojo)

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Ouch (photo © Jaime Rojo)

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Taker for The Bushwick Collective. (photo © Jaime Rojo)

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Never Crew in Luzern, Switzerland for Viva Con Agua. (photo © Never Crew)

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Sipros for The Bushwick Collective. (photo © Jaime Rojo)

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Jilly Ballistic. Palimpsest in the NYC Subway. (photo © Jaime Rojo)

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Artist Unknown. Sexual predator for USA President. How can you people defend him still? (photo © Jaime Rojo)

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Artist Unknown. She is not perfect. She is also not crazy. (photo © Jaime Rojo)

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Whos Dirk (photo © Jaime Rojo)

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Slick. Murals In The Market/1XRun 2016. Detroit, Michigan. (photo © Jaime Rojo)

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Kevin Lyons. Murals In The Market/1XRun 2016. Detroit, Michigan. (photo © Jaime Rojo)

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Spaik. Sardegna in Italy. (photo © Spaik)

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Untitled. Subway dreams. NYC Subway. Manhattan, NYC. October 2016. (photo © Jaime Rojo)

 

 

 

 

 

 

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“Magic City” Premieres in Dresden : Seno and McCormick as Alchemists

“Magic City” Premieres in Dresden : Seno and McCormick as Alchemists

40 Artists Up Along Main Street, 12 More in the BSA Film Program

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Curators Ethel Seno and Carlo McCormick in front of a new mural by German duo Herakut announcing the premiere of Magic City in Dresden. (photo © Rainer Christian Kurzeder)


 

“Nature is a petrified magic city.” – Novalis

Curator Carlo McCormick quotes Novalis by way of describing this new exhibit of an eclectic blend of terrific troublemakers, pop-culture hijackers, and show-stopping crowd pleasers drawn from cities all around the Street Art/ graffiti /urban art scene today – and forty years ago. This is a welcoming walk of unexpected intersections that only McCormick and co-curator Ethel Seno could imagine – and pull together as a panoply of street wizardry that acknowledges activism, artistry, anarchy, and aesthetics with a sincere respect for all. It will be interesting to see how this show is viewed by people who follow the chaotic street scene today in the context of its evolution and how they read the street signs in this city.

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Curator Ethel Seno with Managing Director Dieter Semmelmann and exhibition Designer Tobias Kunz cutting the ribbon at the premiere of Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

McCormick, in his customary self-effacing humor, expects there to be some shit flying – as anyone who is involved in this scene expects from the hard-scrabble rebellious margins and subcultures that this art-making interventionist practice rises from. There also are a growing and coalescing mini-legion of scholars and academics who are currently grappling with the nature and characteristics of this self-directed art-making practice rooted often in discontent – now organized inside an exhibition that is ticketed and sold as a family friendly show.

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Street Artist and pop mashup painter Tristan Eaton in front of his new mural wall at the premiere of Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

In his descriptions of the public sphere, the writer, historian, author, and cultural critic McCormick often refers to graffiti and street artists messing with “contested space”. It’s an apt description whether we are talking about the public space in high-density gleaming metropolises or the bombed-out grid-less and polluted quagmires of human fallibility and urban un-planning that dot our globe; all public space its nature is contested.

Here is a place used by many artists to protest, agitate, advocate, or deliver critique – and many of the artists in this exhibition have done exactly this in their street practice, often pushing limits and defining new ones. Dig a little into many of the individual story lines at play here and you’ll see that the vibrant roots of social revolution are pushing up from the streets through the clouds of propaganda and advertising, often mocking them and revealing them in the process.

Ultimately, this Magic City experience is an elixir for contemplating the lifelong romance we have with our cities and with these artists who cavort with us within them. “Our Magic City is a place and a non-place,” McCormick says in a position statement on the exhibit. “It is not the physical city of brick and mortar but rather the urban space of internalized meanings. It is the city as subject and canvas, neither theme park nor stage set, but an exhibition showcasing some of the most original and celebrated artists working on and in the city today.”

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Mixed media Street Artist Asbestos from Dublin, graffiti master/ painter Chris “Daze” Ellis from NYC, and Tristan Eaton from Los Angeles at the premiere of Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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Curator Carlo McCormick with New York billboard/culture jammer and artist Ron English in front of his new wall mural at premiere of Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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Dutch anamorphic art master Leon Keer with Polish crochet transformer/Street Artist Olek at the premiere of Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

BSA curated the film program for Magic City with a dynamic array of some of the best Street Art related films today presented together in a relaxed environment. In this video hosted by Andreas Schanzenbach you get a taste of the works that are showing that we draw from our weekly surveys on BSA Film Friday. Over the last few years we have had the honor of presenting live in-person to students and scholars and fans an ever-evolving collection of videos that speak to the spirit experimentation, discovery and culture-jamming outrageousness of urban interventions, graffiti and Street Art.  The BSA Film Program at Magic City presents a survey of some of the very best that we have seen recently.

Magic City artists include:
Akrylonumerik, Andy K, Asbestos, Ben Heine, Benuz, Biancoshock, Bordalo II, Brad, Downey, Dan Witz, Daze, Ernest Zacharevic, Ganzeer, Henry Chalfant, HERAKUT, Icy & Sot, Isaac Cordal, Jaime Rojo, Jens Besser, Juandres Vera, Lady Aiko, Leon Keer, Loomit, MAD C, Mark Bode, Martha Cooper, Oakoak, Odeith, Olek, Ori Carin / Benjamin Armas, Qi Xinghua, Replete, ROA, Ron English, Shepard Fairey, Skewville, SpY, Tristan Eaton, Truly, WENU Crew, Yok & Sheryo

The BSA Film Program for Magic City includes the following artists:
Borondo, Brad Downey & Akay, Ella + Pitr, Faile, Farewell, Maxwell Rushton, Narcelio Grud, Plotbot Ken, Sofles, Vegan Flava, Vermibus

Some behind the scenes shots days before the Premiere

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Popagandist Ron English preparing his Temper Tot at Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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Popagandist Ron English preparing his Temper Tot at Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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DAZE reviewing his work at Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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Urban naturalist ROA at Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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Sheryo strikes a pose while the guys build the installation she did with The Yok at Magic City in Dresden, Germany. (photo © Rainer Christian Kurzeder)

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