This time of year, it is hard to find people in Manhattan on the weekends – they’re “weekending” in the Hamptons, darling.
Not exactly the original setting you might associate with graffiti, street art, hip-hop, punk rock, zines, and underground art culture but where else can curators Evan Pricco and Kim Stephens sell these works on paper while sipping cool drinks poolside?
“Beyond the Streets” carries the mobile party to Southampton Arts Center this Saturday with a wide swath of styles – 500 works from over 100 artists in an art fair-sized venue. It may remind you of the Urban Air Fair tried in Manhattan in summer 2017, but this one has something that one didn’t: Roger Gastman.
If it’s here, it’s because it is quality work and has a connection to the roots of these subcultural scenes usually as well. Expanding now to the more nebulous category of Contemporary, you may be surprised to see more accessible interpretive variations on the themes. Let’s see that paper, people.
Artists include: Action Bronson, Addam Yekutieli, agnès b, AIKO, André Saraiva, Andrew Schoultz, Andrew Thiele, Andy Rementer, Aryz, Bert Krak, Brandon Breaux, Broken Fingaz, Bryant Giles, Camille Walala, CES, Cey Adams, Charlie Ahearn, Chloe Early, Chris FREEDOM Pape, Clark Fox, Cody Hudson, Conor Harrington, Craig Costello, CRASH, DABSMYLA, Daniel Rich, David “Mr StarCity” White, DAZE, DEFER, Emily Manwaring, Eric Haze, Ermsy, Escif, FAILE, Faith XLVII, Fucci, Greg SPONE Lamarche, Gustavo Zermeno, Hilda Palafox, House 33, HuskMitNavn, Ian Reid, Icy & Sot, Jaime Muñoz, Jamilla Okuba, Jane Dickson, JEC*, Jeremy Shockley, Jillian Evelyn, JK5, John Konstantine, Julian Pace, KATSU, KC Ortiz, Kelsey Brookes, Khari Turner, Kime Buzzelli, LeRoy Neiman, Linas Garsys, Liz Flores, Lucy McLauchlan, Lujan Perez, Maripol, Mark Mothersbaugh, Martha Cooper, Marshall LaCount, Matt McCormick, Maya Hayuk, Michael Vasquez, MIKE 171, Mister CARTOON, Neena Ellora, Nehemiah Cisneros, Nettie Wakefield, NUNCA, Otto183, Paije Fuller, Paul Insect, POSE, Rebecca Morgan, Reko Rennie, Rello, Richard Colman, RISK, Ron English, Ryan McGinness, Sage Vaughn, Saladeen Johnson, Scott Campbell, Sean from Texas, Senon Williams, Shantell Martin, Shepard Fairey, SJK 171, Sofía Enriquez, SNOEMAN, Spacebrat, STASH, Steve ESPO Powers, SWOON, TAKI 183, The Perez Bros., Timothy Curtis, Todd James, Troy Lamarr Chew II, Umar Rashid, Victor Reyes, Wasted Rita, Wulffvnky, Yarrow Slaps, Yusuke Hanai, ZESER, ZOER and 45RPM.
BEYOND THE STREETS on PAPER July 17—August 28, 2021 Southampton Arts Center, Southampton, New York, 11968
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Blinded By The Lines in Poland 2. Dr. Audrey Fernandes Satar and Arif Satar / WA Street Art on The Collie Mural Trail in Australia 3. FAITH XLVII / CHANT
BSA Special Feature: Blinded By The Lines
And the beat goes on – a new homemade video from Poland from taggers Ready (ALKO) Finer (TNA U7) Febs (Legz) Zion (DSTS) Lokal (DRS) in the night putting throwups, tags, and quick silvers.
Blinded By The Lines PT. 1
Dr. Audrey Fernandes Satar and Arif Satar / WA Street Art on The Collie Mural Trail
“This was never an empty wall and we’ve added to this wall another layer of history,” says Dr Audrey Fernandes Satar about her new collaborative mural with Arif Satar in Collie, Western Australia.
From the video description: “The work is Titled ‘Ground’ and is a panoptic drawing of the hills draped with patterns inspired by banksia seed pods, calling attention to the fragility of Collie’s ancient landscape where the river flows gently.”
FAITH XLVII / CHANT
Umber tones of war and oppression, this video directed by A. L. Crego introduces the new show by street artist and fine artist Faith XLVII called CHANT. Incorporating her repetitive, rhythmically placed street texts with overlays of tone and texture and her ferocious and wild animal kingdom, she unearths again layers of history that we have as a people, and as people.
“We CHANT. A ritualistic meditative call. We assimilate this earthly drama through pitches of reciting tones, shades and textures. Sacred attempts of setting a frequency for unlearning. breaking open. seeing. A mantra.”
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening participants at Festival Asalto 2020: 1. FAITH XLVIII 410 BC – 340 BC 2. Ozmo / “La visión de Tondalo” via Urban Art Field 3. SOFLES / Geometric
BSA Special Feature: FAITH XLVIII 410 BC – 340 BC
You knew FAITH XLVIII was OG, but did you imagine she dipped back to the 4th century? In this newly unveiled clandestine scene, the South African street artist paints among the decay in Lexington.
She says it is part of her “7.83Hz Series”
FAITH XLVIII 410 BC – 340 BC, Lexington, Kentucky
Ozmo / “La visión de Tondalo” via Urban Art Field
Ozmo in Turin finds inspiration here from a Renaissance panel from the Bosch school and interprets it for Urban Art Field. In it, we find the journey of a dreamer in hell beneath the power of the Mole Antonelliana, the major landmark building that serves as a symbol of Turin.
SOFLES / Geometric
Professor Sofles takes us to school again with this brand new 3D-style graffiti piece he painted in a gym. He says he took inspiration from the interior wall design and climbing equipment.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening participants at Festival Asalto 2020: 1. “BY VIRTUE OF” a collaboration project between Faith XLVII and Zane Mayer 2. Five Minutes with: 1UP Crew in Berlin – Via I LOVE GRAFFITI.DE 3. MadC1 Via Tost Films 4. Tiacuilos: A film by Federico Peixoto.
BSA Special Feature: “BY VIRTUE OF” a collaboration project between Faith XLVII and Zane Mayer
These hands first appeared projected on a 10 story building in Jacksonville, Florida. A compilation of hands filmed during interviews with America’s homeless, the collaborative video piece by Zane Meyer and Faith XLVII is instructive, expansive, colorful, genuine. Say the artists about the focus of this work, “Like books, the hands tell stories of what they have been through. Slow movements, delicate gestures, and subconscious motions make up the scenes of the film – a match is lit, stones are organized, tattoos are shown, sand is filtered. Clenched hands narrate stories of power, or anger, while open hands suggest an offering or a search for an embrace.”
“BY VIRTUE OF” a collaboration project between Faith XLVII and Zane Mayer
Five Minutes with: 1UP Crew in Berlin – Via I LOVE GRAFFITI.DE
Looks like 1UP Crew are up to no good, as usual. On a large scale, as usual. Impressive, as usual.
MadC1 Via Tost Films
A small taste of the stunning MadC painting her highest mural to date – 56 meters (184 feet) high – in Abu Dhabi for @forabudhabi – with a team from 7 different countries.
Tiacuilos: A film by Federico Peixoto.
As we have always done; here is an excellent opportunity to broaden the conversation about this world-wide people’s art movement that goes by many names. Tlacuilos: “The definitive film chronicle of Graffiti and Hip Hop in Central America”. A film by Federico Peixoto.
What is the real meaning of Liberté Égalité Fraternité?
That’s a good question in the face of a new proposed law censoring French citizens free speech. According to the law, you would be criminalized for publishing any photo or video where a police officer or gendarme could be recognized if there is an intent to harm their “physical or psychological integrity”. Obviously this sounds like a vague restriction that could be widely interpreted and possibly abused.
Undoubtedly people see that individual freedoms are being steadily threatened by the state in many countries now, but France has explicitly fought for Liberté of the press. Since many people have a camera today – we are almost all the de facto “press” members who can hold civil servants and elected leaders accountable by self-publishing images and events for other citizens to see and discuss. It’s a right worth fighting for, if you ask the demonstrators in Paris right now.
The question as it pertains to the new print that Faith XLVII is selling right now is something slighty different, but still related – and still heroic on some level.
“The imagery of a rearing horse signifies a powerful animal which has been subjugated by humankind, and has finally broken free. Carrying with it the weight of nationalism and patriotism, memorials and statues of statesmen and war ‘heroes,'” she says.
“Historically, they were the creatures men took to war, to fight and die alongside them with unrelenting loyalty. Inescapably majestic and elegant in their powerful and muscular form, horses have an inherent sense of nobility,” says the street artist and fine artist in a statement accompanying the print release.
“Within this discrepancy between their physical power and their subservience, they become archetypal symbols for notions of human power struggles, war, nationalism and blind loyalty to leadership. By unleashing or freeing these dignified creatures through these images, we understand our own sense of agency, independent from political quests, ultimately expressing potentiality for our own humane power.”
LIBERTÉ ÉGALITÉ FRATERNITÉ II 6 layer Stone Lithograph Printed on Japanese Udagami Paper 70g 78 cm x 109 cm / 30.71 inches x 42.91 inches Edition of 60
A percentage of all sales will be donated to The South African Cart Horse Protection Association, who have have been providing vital services and education to the cart horse owners since 1995, including a clinic, treatment stalls and paddocks, cart repair workshop, education and training providing services to over 260 working overworked or abused cart horses and their owners.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Strength” from Pejac 2. Chant – Faith XVII 3. Spells, The Salton Sea – Faith XLVII 4. EDOARDO TRESOLDI, An Interview
BSA Special Feature: “Strength” from Pejac
Santander, Spain has suffered from COVID, of course, as has most of the country. Local street artist PEJAC says he wanted to contribute to his local hospital, the University Hospital Marqués de Valdecilla, by painting in public areas for people to enjoy. He says the common theme that unites the three distinctly different styles he used, is Strength.
“It’s a gesture of gratitude to the heath workers of Valdecilla, for their work in general and during this Covid crisis in particular,” says PEJAC
PEJAC / STRENGTH
FAITH XLVII / CHANT
Reliably enigmatic, street artist Faith XVII is using the medium of video to add impressions and associations to her works here on a text series called “Chant”. The irony of using the letter C that may call to mind Chase bank is drawn tighter as you see neighborhoods and walls probably redlined by corporate banks, or targeted for annihilation through neglect. In the context of our older societies, one may see in her work the power of chanting to focus a larger group to act in union with purpose, and power.
SPELLS / SALTON SEA / FAITH XLVII
60 miles south of Palm Springs, California, the Saltan Sea is disappearing, it’s shore moving miles in only a couple of decades, along with its population. Faith XVII is a Californian these days and she is here pondering the “beach” that remains, full of mercury, arsenic, selenium. California’s largest inland body of water now turns into dust, and Faith pours herself into the soil and the air that carries it; and the drought, well… How this translates to her art on the street or in the studio, it is in alignment with her ongoing concerns about climate change – and you can be sure this project will appear again in her work.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Realm: Shanghai” Vhils directed by Jose Pando Lucas 2. ARTRIUM, Moscow. (part 1) 3. Faith XVLII x Philadelphia, ‘The Silent Watcher’.
BSA Special Feature: “Realm: Shanghai” Vhils directed by Jose Pando Lucas
Like other fashion and luxury brands, certain contemporary art galleries are commissioning higher-end film quality videos to put muscle behind the marketing. Naturally, some artwork is camera-ready, infused with the potential for storytelling that creates the “rich content” that social media thrives on, and aids sales teams in the gallery space and at art fairs. Portuguese Street Artist Vhils has director Jose Pando Lucas along as sophisticated seer; The artist once again bringing a storyline into savvy focus, capturing your imagination with his.
“I remember the story I was told,” intones the mystical
modern while staring into the camera. “That in time I would know my place in
The tone is perhaps meant to reassure an unsteady heart in a chaotic modern world, to center oneself in a dislocating environment. Viewed as an appealing sales tool, it also skillfully fortifies a self-image of the entitled powerful class who are pre-ordained or chosen to dominate and to lead. Anonymous and existential mournful stares through city windows and at bus stops, the artworks under construction are born of destruction; mottled, rough-hewn, defiant in the city’s margins.
Tradition struggles for its place amidst amazing new technology and rapidly growing infrastructure. The artist posits himself as working man pounding on walls, without airs of class. With this art in your home you are keeping in touch with the common, the everyday insecurities, for you are citizen. You can afford it because, after all, you are also a ruler.
“Nobody really got the answers they longed for.”
“Do we live as we dream?”
“Who else can hear me right now?”
Youthful, fashionable, under constraint, free of constraint,
traditional and unconventional power players laying plans quietly, focusing a pent-up
hunger for more. This is the ocean of wealth and capacity that will define
epochs, not decades.
It ends sweetly, a bon mot that suggests a sense of human camaraderie among competitors of this race. But it is an uncertain connection, born more of wistful desire for a pleasant resolution than actual brotherhood or sisterhood.
“Yesterday is gone. This moment has ended.”
VHILS – REALM (Shanghai, 2019) A film by Jose Pando Lucas
ARTRIUM, Moscow. (part 1)
An educational insight into the people and the place.
Unusual in the Russian Federation, if not the commercialized western cultures which have willfully merged graffiti and Street Art culture to the point of quotidian, The Artrium combines a shopping mall with murals by Street Artists. What is remarkable is the list of names who regale this city skin with new pieces inside and outside, bringing to life an otherwise normal grey and beige block.
Astounding to discover in the center of Moscow, the outdoor gallery boasts artists such as Shepard Fairey, Felipe Pantone, Tristan Eaton, Ben Eine, PichiAvo, Okuda San Miguel, Pokras Lampas, Faith47, WK Interact, Faust, and Haculla. Average visitors may not grasp the remarkable collection of talents, but if you are shopping in this capital city, you wouldn’t want to miss this opportunity that captures a stunning moment in the rotation of the Street Art universe.
Faith XVLII x Philadelphia, ‘The Silent Watcher’. By Chop ’em Down Films
In the words of Faith XLVII;
‘I come from a country that is seething with the frustration of
uncontrollable violence and woman abuse, xenophobia , class and racial
And have moved to a country where there seems to be a fundamental crisis in the very soul of the nation.
We know this ache of our lands.
And we all know personal ache.
Everybody has their struggle to bear.
And with the weight of the world on our shoulders,
we must still be able to live with empathy
We must somehow keep our hearts open.
The words on this wall are a reference to the City Seal of Philadelphia with calls out for brotherly love.
This is no small commitment.
It also references a quote ‘Optimism is a strategy for a Better Future.’
Paying tribute to Noam Chomsky who was born in Philadelphia and is 91 years old this year. .
The harsh experiences of life can easily make us fall into a negative world view,
or inner psychological depression.
But we each have the ability to transform this base metal of knowing suffering,
into the gold of higher aspiration.
The name of this mural is ‘The Silent Watcher’
We can be the silent watcher, who knows, who loves and who endures.’
They used to run from the Vandal Squad in this
neighborhood. Now people pay to see their art here.
Through the expansive glass wall on the 6th floor you can look down Kent Avenue to see the spot where a monster pickup truck with a heavy chain tied around a FAILE prayer wheel almost jackknifed on the sidewalk, gave up and sped away. Not that many Brooklynites saw that event in the 2000s – nobody walked here and few people drove through Williamsburg then except truckers looking for street walking ladies wearing high heels and spandex. Oh, and a serial killer.
Now visitors buy tickets to see a circular colonnade of FAILE prayer wheels here at 25 Kent – including the real estate developers and Wall Street professionals who displaced the community of artists whose work made the neighborhood attractive and “edgy”.
Along with Street Artists in this exhibition like Shepard Fairey, Bast, Swoon, Invader, Aiko, Dan Witz, Katsu, 1UP, and Lister, the FAILE duo put completely illegal artworks on walls under cover of night and threat of arrest in this same neighborhood then – transforming it with many others who are not in this show into an open gallery of the streets, placing Williamsburg on the map as New Yorks’ epicenter of the newly emerging Street Art scene.
The Nature of Graffiti and Street Art
As graffiti and Street Art are migratory and necessarily elusive by nature, this story is only one chapter in a volume of history that serious academics are now reconstructing and analyzing. With each passing year and published white paper, the practices of 20th century public mark-making are being examined in greater detail for archiving and for posterity. Not surprisingly, institutions, patrons, collectors, and brands are increasingly interested in this story as well.
When it comes to the anarchic subculture of illegal
street art practice and its influence on society, there are non-stop ironies
sprayed en route from verboten to Vuitton, and street culture has supercharged
the imagination of the mainstream and high culture throughout history – that’s
where the best ideas come from sometimes. Many seminal artworks from “the
scene”, as it were, represent much more than what you are seeing at first
glance. As art and cultural critic Carlo McCormick has described the iconic
Shepard Fairey ‘Hope’ image in Art in
America, many graffiti and Street Art works saved are “not a
fleeting pop-culture sensation but simply the latest crossover hit in a long
line of underground classics.”
The wide-ranging survey that is Beyond the Streets makes sure that you know where the roots are, and who many of the pioneers were. It is impossible to tell a complete story that includes scenes as diverse as west coast Chicano muralism, hobo graffiti, hip-hop commercial design, NY downtown artivism, Japanese low/hi contemporary, skateboard, tattoo, early train writing and a current romance with muralism, but BTS at least gives a serious consideration to each and offers you the opportunity to look further into them.
With the help of photography documentation from people like Martha Cooper, Henry Chalfant, Jim Prigoff, Lisa Kahane, Joe Conzo, John Fekner, Bill Daniel, Maripol, and Dash Snow, the crucial importance of this work provides needed interstitial and contextual information that enables myriad stories to be elucidated.
Exhaustive, no. Exhausting, possibly. Pace yourself.
spent my life surrounded by graffiti and Street Art,” says the shows’ director
Roger Gastman “and you could say that I have been obsessed with understanding
the culture, its origins, and its evolution. It’s incredible to me how far it
With 150 artists whose practices span five decades
and various (mainly) American subcultures displayed in a maze of new walls in
this 100,000 sf, two-floor exhibition, the Beyond the Streets senior curatorial
team includes Gastman, filmmaker/ graffiti historian Sacha Jenkins SHR, Juxtapoz
Editor in Chief Evan Pricco, and author/ graffiti historian / graffiti writer David
CHINO Villorente. Each curator brings core competencies and knowledge of the
graffiti scene (Gastman, Jenkins, Villorente) as it has evolved to include the
Street Art practice and an eventual move toward contemporary art (Pricco).
“It’s absolutely phenomenal,” says Villorente, who says his history as
a graffiti writer compounds the impact for him. “I was glad that the show was
coming to New York because I was born and raised in Brooklyn. I couldn’t have
imagined it – especially when I think back on when I was writing on the trains
and doing illegal graffiti. To have of show of this magnitude is really
“We started writing in ’68 and here we are, fifty-one years later,” says Mike 171 as he gestures toward himself and crew writer SJK 171 when talking about how they began and continued writing their tags on the street in New York City. “This is the history right here,” he says, and you know you are about to be schooled about the plain realities of early graffiti writing. At the opening, you witness each guy tagging in a large dusty window here and realize the love for writing never actually stops.
“We were expressing something that was inside of us,” says SJK 171. “The streets were like ours,” he tells you against a backdrop of their work, Cornbread’s work, and of images full of one color, single line monikers that set the stage for the more colorful, character-driven pieces and burners a decade later, transforming trains into a rolling aesthetic symphony by the mid 1970s.
One of the actual “whole car” writers of that period, Lee “LEE” Quinones, here recreates a “Soul Train” car side on a canvas that looks like it could easily wrap an actual MTA #2-line car that he used to slaughter with cans in the middle of the night at the train yard. When describing the new work he said he was intentionally keeping it simple – perhaps owing the style to his earlier practice.
“I think this is one of Lee’s most amazing pieces,” says Charlie Ahearn, the director of the seminal 1982 “Wild Style” film that Quinones stars in. Ahearn self-produced that film which became an important distillation of the merging of graffiti with hip-hop culture during a pivotal moment in the history of both. Now also a professor of Hip-Hop, art, design, and documentary film making at Pace University, Ahearn is familiar with many of the artists work here, many relationships reaching back decades. “I told Lee that I liked that it was a one-off, that he painted all the color straight off without the embellishment, texturing, and all that stuff.”
Charlie’s twin brother John Ahearn is represented here popping out from walls as well, his sculptures serving as authentic portraits of people you may easily have seen on New York streets over the last four decades. Casted directly on top of the people themselves in a technique he has perfected, the placement of the sculptures gives life to the space.
Star Writers, Immersive Environments, Foundations
The individual clusters of work and canvasses by 1970s-80s train painters like Futura, Crash, Lady Pink, Freedom, Carlos Mare, Blade, Haze, and Daze and next gen graphic painters like Doze Green and Rime are complemented by a number of so-called “immersive” spaces here like the Mission Schools’ Barry McGee storefront with smashed window, and the Australian Pop duo Dabs & Myla’s eye candy floral walls with thousands of artificial fauna created in collaboration with Amelia Posada.
The high-profile graphic activist Shepard Fairey’s 30 year career overview takes a large area and encompasses all elements of his street and studio practice, and Bill Barminski’s cardboard home is open for you to explore with a wry smile, remembering the security room installation he did at Banksy’s Dismaland a couple years earlier.
also treated to a full rolling wall of Craig Stecyk posters that brings you the
sun and surf of California skate culture, sculptures by Mr. Cartoon and Risk, a
kid-friendly illustrated room with crafting supplies for young fans on tables
from HuskMitNavn, and an astute freight train culture educational display by
writer/painter/sculptor Tim Conlon (complete with a mid-sized Southern Pacific freight
on train tracks he and friends built), prints/photos by historian Bill Daniel, and
original drawings by the man some call the King of Hobo Art, buZ blurr.
are a self portrait as predicated on a first Bozo Texino person and I kind of
changed the image around,” says Mr. blurr, a legendary figure in denim
overalls, as he patiently describes his classic tag image of a railway cowboy.
is a writer motif – the pipe smoke is going up and then it is trailing back to
signify movement as the train goes down the track,” he says. “I worked in the
train yards and my job was as a brakeman. I had a little free time so I started
making drawings. I made my first one on November 11, 1971,” he says as he
recalls the state of mind that he was in at the time as he began to tag
freights with the image and text that came to him clearly – and may have
perplexed other travellers.
came from a confused state. I was questioning everything. I was putting kind of
cryptic messages under my drawings. It was anybody’s guess as to its literal
interpretation. I addressed some of them up to specific people but whether they
saw them or responded to them, I wouldn’t have any idea.”
it’s shipped in the crate its 550 pounds,” says Conlon as he stands by the 3-foot
high freight car re-creation on tracks and ties that is
hit with a couple of wild and colorful graffiti burners. “Here I’m going to
show you something,” he says as he pulls back the roof to reveal the narrow
coffin interior in rusted red. “So I’m going to hide some beer in here during
the opening party. This is like the fifth one of these I’ve made,” and he proudly
confides that one lives in the house of Robert Downey Jr.
Digging Deep to Take Risks
to rest on laurels and previous formulas of success, the show keeps a freshness
by presenting known entities pushing themselves further and taking creative risks;
a reflection of that spirit of experimentation we have always prized on the
writer Earsnot from Irak crew, now known professionally as Kunle Martin, said
he had been making work for the gallery containing elements of graffiti, but
felt they were too “safe”.
“Then my friend Dan said ‘you should go back to doing drawings,’” he says as he stands before figurative canvasses in black and white on cardboard. “I said ‘I can’t! It’s too hard! But eventually I began working in my studio five days a week, and I made enough for a show.”
Reflective of the attitude of Gastman toward artists in the community, he told Martin that if he made enough of them, he could place them in this show. “I think he was happy to hear that I was in my studio working. He’s been very supportive of it.”
color-drenched graphic/photographic collage style is featured with plenty of
space in large frames from Chicago’s Pose, who says he is letting photography
and geometry lead him away from his previous pop collage style that may have reminded
many of Lichtenstein. His inspiration here comes from his research into early
photos of graffiti writers running from police “I was
obsessed with John Naars photos and I have usually Norman Mailer as in
inspiration. Some of these photo references are from the Philadelphia Inquirer,” he says.
New York’s Eric Haze also dares himself to take a new direction with three canvasses featuring a refracted piecing-together of imagery and memories of this city in monochrome. Based on black and white scenes of the city by photographer and NYC taxi driver Matt Weber, the scenes capture aspects that are culled from imagination and impression. The centerpiece canvas captures an iconic piece of the Williamsburg waterfront that has been removed in the last few years by developers; the signage of the old Domino Sugar factory by the Williamsburg Bridge.
Mr. Haze said he meant it as a gift and tribute to
his wife, actress and longtime resident of the neighborhood, Rosie Perez who
used to see it along Kent Avenue as a kid. “He’s not afraid to take risks. He’s not afraid to go in the
studio and express what’s inside of him. When he brought me to the studio, he
says, ‘I have a surprise for you’,” she remembers. “I saw the beginnings of the
Domino painting and I was stunned into silence and I got teary-eyed.”
An expanded version of the show that first mounted
in Los Angeles last year, the collection is focused a great deal on the
American history of graffiti with a balance of East/West coast graffiti history
– in a way that may remind you of 2011’s “Art in the Streets” at LA MoCA. That
makes sense, considering Gastman co-curated that show as well.
“It’s both a historical and current look at where
the culture went and where it started and how widespread it is,” says
co-curator Evan Pricco, who perhaps provides a lynchpin view toward the big
name Street Artists who continued to push expectations in the 2000’s on streets
and in commercial galleries around the world. “With the space spread over two
floors it has a way better curatorial sense. I also think it does compete with
museums because it shows that this kind of work is on the same level. You kind
of have to present it in a way that feels very institutional and archival.”
So is Beyond the Streets
a graffiti show or a Street Art show or a contemporary art show? For artist
Kenny Scharf, who first gained attention during the heyday of Downtown
Manhattan’s art scene that benefitted from an interlude where rents were dirt
cheap and Wall Street was on a cocaine high, there is no need to categorize
what kind of art this is.
“You know I never liked labels or titles anyway so
even back in the early 80s I was pegged like ‘oh you’re a graffiti artist,’” he
says. “People feel the need to title and label so I’ll
let them to continue to do that but I don’t fit into any of them and I don’t
want to. I want to fit into all of them and none of them.”
Streets opened June 21 and continues through the summer.
Martha Cooper’s work as exhibited at Beyond The Streets New York
Beyond The Streets NYC is now open in Williamsburg, Brooklyn to the general public and will run until August 2019. Click HERE for schedules, tickets and details.
Gastman’s Massive Graffiti and Street Art Show Arrives at Epicenter.
“I’m really excited to bring this show to New York,” says curator, graffiti historian and urban anthropologist Roger Gastman, “because the city plays such a pivotal role in the origin and evolution of the culture. The iconic images of covered subway cars made graffiti famous worldwide.”
He’s talking of course about “Beyond The Streets” the hybrid exhibition that he mounted in LA last year featuring the work of 150 who have proved to be pivotal to the evolution of a fifty year global people’s art movement that includes graffiti, street art, and urban contemporary art. Filling over 100,000 square feet of new space in Brooklyn, this two-floor cross-section survey will feature artworks by many of the same vandals, graffiti writers, Street Artists, and art activists who hit NYC streets, created dialogue with passersby, and were sometimes chased by the authorities. To see them showcased here is to recognize that there is not just one route to take – in fact there are many.
“We have an incredible roster of artists for New York,” Gastman tells us, “and a brand new space in Williamsburg that has a stunning view of the Manhattan skyline as our backdrop.” Notably the lineup includes artists whose work BSA has documented on the streets in this very same neighborhood over the past two decades, including Shepard Fairey, Faile, Swoon, Bast, Invader, Aiko, and others. Ironically the appearance of free-range Street Art in the neighborhood has been seriously diminished since that time.
The exhibition is one more verification that a significant portion of the scene is being widely recognized for its cultural contribution and value in the contemporary art canon – a significantly fluid scene fueled by discontent and a desire to short-circuit the established routes to audience appreciation. Like large survey shows elsewhere, the takeaway is the significant impact street culture and its tangential subcultures continues to have on the culture at large.
Gastman says the New York version of “Beyond The Streets” will take an
additional interest at the role of music and art activism on the street, along
with immersive installations, a tattoo parlor, a special Beastie Boys
installation with artifacts and ephemera, a new 30th Anniversary
Shepard Fairey project “Facing The Giant: 3 Decades of Dissent,” and large
scale works by Gorilla Girls, Futura, Cleon Peterson, and Takashi
More news coming on programming and events, but the important opening date to know right now is June 21st.
“All in all, it will make for a really special show this Summer,” says Gastman.
BEYOND THE STREETS TEAM
Curator: Roger Gastman
Co-Curators: Sacha Jenkins SHR, Evan Pricco, David CHINO Villorente
A-ONE, AIKO, Al Diaz, Alexis Ross, Alicia McCarthy, André Saraiva, Barry McGee, BAST, Beastie Boys, Bert Krak, Bill Barminski, Bill Daniel, BLADE, Broken Fingaz, Buddy Esquire, buZ blurr, Carlos Mare, Carl Weston, Cey Adams, C.R. Stecyk III, Charlie Ahearn, Chaz Bojórquez, Claudia Gold, Cleon Peterson, COCO 144, Conor Harrington, Corita Kent, Craig Costello, CRASH, DABSMYLA, Dan Witz, Dash Snow, DAZE, DEFER, Dennis Hopper, Dondi White, Doze Green, EARSNOT, Estevan Oriol, Fab 5 Freddy, FAILE, Faith XLVII, Felipe Pantone, FREEDOM, FUTURA 2000, Gajin Fujita, Glen E. Friedman, Gordon Matta-Clark, Guerrilla Girls, HAZE, Henry Chalfant, Herb Migdoll, Husk Mit Navn, INVADER, Jane Dickson, Jason REVOK, Jean-Michel Basquiat, Jenny Holzer, Jim Prigoff, John Ahearn, John Fekner, John Tsombikos, Joe Conzo, José Parlá, KATS, KC Ortiz, Keith Haring, Kenny Scharf, Kilroy Was Here, LADY PINK, LAZAR, LEE Quiñones, Lisa Kahane, MADSAKI, Maripol, Mark Gonzales, Mark Mothersbaugh, Martha Cooper, Matt Weber, Maya Hayuk, Michael Lawrence, MIKE 171, MISS 17, Mister CARTOON, Nina Chanel Abney, NOC 167, Pat Riot, Patrick Martinez, Paul Insect, POSE, PRAY, Rammellzee, Randall Harrington, RETNA, Richard Colman, Richard Hambleton, RIME, RISK, Ron English, Ruby Neri, SABER, Sam Friedman, SANESMITH, Sayre Gomez, Shepard Fairey, SJK 171, SLICK, SNAKE 1, SNIPE1, STAY HIGH 149, Stephen Powers, SWOON, Takashi Murakami, TAKI 183, TATS CRU, TENGAone, Tim Conlon, Timothy Curtis, Todd James, Trash Records, UGA, VHILS, and ZESER
The show is developed in partnership with Adidas and Perrier. Additional support provided by Modernica, Montana Colors, NPR, NTWRK, Twenty Five Kent and WNYC.
With giant murals at the forefront of the message, a recent Manhattan campaign of select walls is intended to make us talk and keep our eyes on an ugly social justice issue that organizers hope we can collectively address: child labor and forced labor.
Even in downtown NYC on Wall Street people will admit
that capitalism isn’t cool if we are doing it on the backs of children
somewhere. Nobody celebrates that. Do they?
With murals that advocate for “decent work”, asking us to create a better “future of work”, a small inspired group of international artists created impressive new works on Midtown’s East Side – roughly in the area of the United Nations.
Included in the group are Clandestinos (Shalak Attack and Bruno Smoky), Faith 47, Jorge Rodriguez-Gerada, Mr Cenz and Victor Ash. The collection is quite striking on city streets, as are the individual pieces. In fact each artist did their own interpretation of the overall theme by concentrating on direct and ancillary topics: green jobs, youth employment, gender equality at work, child labor and forced labor and the future of work.
Perhaps with some irony, the professionally rendered and emotionally stirring mural by Jorge Rodriguez-Gerada (at end of posting) was completed in the face of multiple obstacles that plague Street Artists sometimes, just not usually all at once. Regardless, the piece has an overwhelming impact.
A former culture-jamming urban installation artist who garners serious respect on the street as well as in professional art-world circles, he soldiered on for an installation that included lift equipment failures and a series of uncommon logistical challenges that come with mounting one of New largest mural works on the side of a soaring building that has a relatively narrow city alley. Only Rodriguez-Gerada’s determined vision allowed him to endure through a seemingly relentless torrent of bitter cold rainy spring weather for weeks.
Nonetheless, the results of his work, and of all of these artists, are as remarkable as they are sweet. In the service of the International Labour Organization (ILO) and a philanthropic group called Street Art for Mankind (SAM) these works can hopefully help raise our consciousness and protect children from enslavement and harsh work globally. Remarkably, SAM is going to directly to the heart of the matter, funding efforts to “help fund raid & rescue programs to free children from slavery,” says their press release.
Victor Ash – Green Jobs
Clandestinos – Future of Work
Jorge Rodriguez-Gerada – Child & Forced Labor
To learn more about Street Art For Mankind click HERE
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Ella & Pitr “Heavy Sleepers”
2. Faith XLVII Astronomia Nova, Los Angeles
3. Sights, Sounds and a Recap of Juxtapoz Clubhouse 2018
4. “60 Minutes” and JR
BSA Special Feature: Ella & Pitr “Heavy Sleepers”
A culmination of five years of murals visible from planes, French duo Ella & Pitr nudge you awake on a sleepy Friday to say “Thank you for being part of this story!” You didn’t even realize that you were a part of it, did you? In a way, you can see your own reflection somewhere here.
Their sleeping giants have appeared in cities around the world, often too big even for the massive rooftops they are crammed uncomfortably atop. With a true knack for childhood wonder and illustration, perhaps because they have a couple of them at home for inspiration, Ella & Pitr bring the petite rebel spirit to these characters; imperfect specimens with stylistic idiosyncrasies and sometimes ornery personalities. In the end, they were all “heavy sleepers” resting temporarily, as is often the case with (sub)urban interventions variously referred to as Street Art, public art, land art, pavement art… Make sure you stay for the end of this video that comprised most of the giants.
Faith XLVII Astronomia Nova, Los Angeles
A moment of restive stirring tranquil wonder from artist Faith XLVII, who continues to expand her sphere of study and influence beyond the street. The 2nd installation of a hologram called “Astronomia Nova” in cooperation with artist Lyall Sprong is captured here by Cory Ring of Chopemdown Films. The Los Angeles Theatre installation in the fall was part of Summit LA 2018. The immersive site specific installation transforms the environment and becomes something new, astronomically familiar.
Sights, Sounds and a Recap of Juxtapoz Clubhouse 2018
Highlights from the Juxtapoz Clubhouse in Miami this year during the Basel art fairs, proving again the ethos of inclusivity that BSA has always been down with- and frankly that the D.I.Y. street culture demands from us.
“60 Minutes” goes behind the lens with French artist JR
2018 has been a good year for Street Art books, and your interest in the ones we have highlighted continues to assure us that “Print” is not dead. There is no better way to document a moment in this evolving scene for posterity than with the bound volume, and sometimes there is no better way to appreciate an artists work than to sit by a lamp or window with a book on your lap.
We know that you appreciate our daily analysis and efforts to elucidate and illustrate a fluid global Street Art/ graffiti / urban art scene here in digital, but we’re thrilled to give you solid options in book form as well. If you’re looking for a good quality art book to give this year, consider one of these hits from 2018. Enjoy!
“Certainties, simple explanations, last hopes, magic thoughts and fears. All of them confronted by what is evident.”
Thus describes the figure slung with bullets, holding a necklace with a cross and delicately balancing a small green apple on his index finger on a larger than life mural in Santiago, Chili. The visual language of this graffiti/Street Artist and muralist named Inti is his to wield, a cosmic folk expression that glows with celestial waves surrounding an other-worldly race of characters.
INTI. Éditions Albin Michel, 2017. Paris, France. Click HERE for more about this book.
Such is the splendid stuff of dreams and discovery for Bordalo II, the Lisbon-based Street Artist and maker of garbage relief animal portraits in cities across the world.
These are the things that when arranged on shelves and placed in relation to a floor plan, within parameters and boundaries of our mundanity, will comprise a perfect environment of domesticity; full of memory, associative emotion, symmetry. Objects, materials melted and poured, carved and plain, screwed and snapped, polished and sprayed, emulsified, inset, extruded, coiled, soldiered, plated, woven. These dimensional collections of matter matter to us. Metal alloy. Plastic polymer. Blown glass. Rubber, copper, steel, bakelite, particle board, glue.
Disarrange. You create chaos, disruption, disunity, discontent. Arrange again and create a muskrat, a buck deer, a petulant parakeet, an undulant octopus.
Bordalo II 2011 – 2017. Editor & Publisher Bordalo II. In conjunction with ATTERO and exhibition by Bordalo II held in Lisbon. November, 2017. Lisbon, Portugal. Click HERE for more about this book.
“The constant imposition of advertising in front of our eyes is an oppressive, dictatorial and violent act,” posits the artist, activist, and author Hogre in this new collection of works and words called Subvertising : The Piracy of Outdoor Advertising.
It sounds rather extreme when put this way, but perhaps that is the dulling power of advertising’s omnipresence in public space year after year. Each of us can certainly recall a time when there seemed like there was more open public space and fewer images and graphics and text telling us what to do, what to buy, who to hate, how to behave. Artists like Hogre are sounding the warning on our ability to recognize its power over our perceptions.
HOGRE. Subvertising: The Piracy Of Outdoor Advertising. Dog Section Press. London, 2017. Click HERE for more about this book.
Via his own pop-culture interpretation of the interlocking curvilinear, geometric and graphic motifs, the Portuguese artist is firing new pieces daily in the kiln of his studio in Cascais. For a decade or so his interpretations of the tin-glazed ceramic tilework have been appearing on inordinate secondary city skins in the paths of pedestrians: visual illusions meant to appear as layers of urban bark peeling back from surfaces you take for granted to reveal heritage, history, artisanship.
While the interiors and exteriors of churches, palaces, schools and subway stations are covered with azulejos in Lisbon, thanks to Add Fuel (Diogo Machado) they have travelled to other cities and cultures as well. Each time he is attracted to the tile-making traditions locally, and he often incorporates his study of these new histories as well.
Add / Fuel – 1 – Monograph. Published by Diogo Machado. Portugal 2018. Click HERE for more about this book.
A serendipitous meeting somewhere in Berlin set this project in motion, and the results unveil an adrenaline fueled ride that always pushes, often exceeds the boundaries of physical safety and social acceptance while simultaneously thrilling graffiti fans and pissing off some public officials and property owners.
A new book captures the nature of the actions and adds to our conversations about art, vandalism, branding, public/personal space and its radical visual disruption. It’s a story made all the more remarkable during an increasing level of surveillance in a city that has basically embraced the bohemian and rebellious types who have transformed large parts of its cityscape, making Berlin a de facto capital of subculture, especially among the young.
Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team) Click HERE for more about this book.
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.
It sounds the same on the street as it does in the gallery space, and for Norwegian Street Artist Anders Gjennestad the two appear nearly identical, aside from context.
Whether he is discovering the neglected urban factory door long after the spirit of industry has roared its last turbine and reaching toward his backpack for a spray can, or he is hoisting a piece out from the pile of collected iron-bound wooded slabs in his Berlin studio, functionally each of these doors is a canvas.
Every urban explorer sees the potential of walls that are long abandoned and spoiled with rot and piss and pushed open by weeds, worn away by rain. The world is a temporary place anyway. I am only here temporarily.
Anders Gjennestad. “Canvas”. Published by Galerie Friedmann – Hahn. Berlin 2018. Click HERE for more about this book.
As you look through this new slim volume about the Street Artist/fine artist FKDL it may strike you how much autobiography is the determinant of an artist’s path as well. It’s the tale of a teenager finding himself, finding his vocation, and eventually finding his voice on the street. When you reach the end you see that it takes a number of years and a lot of experimentation, this journey.
FKDL. Galiote Prenant. Choisy-le-Roi, France. 2017. Click HERE for more about this book.
“These are artists who are thus not slavishly reproducing their exterior practice within an interior realm but who are, rather, taking the essence of graffiti – its visual principles, its spatial structures, its technical methods, its entrenched ethics – and reinterpreting them with the studio domain,” says author Rafael Schacter in his introductory exposition for his book Street to Studio where he offers a unique assessment derived from his 10 years of researching the foundational, conceptual, methodological, and ethical considerations that impact the original graffiti/Street Art scene as well as where it is going.
Rafael Schacter. Street To Studio. Lund Humphries Publishers. London, 2018. Click HERE for more about this book.
Street Artist/fine artist Adele Renault understands our interdependence with the birds and with each other perhaps better than many, and “Feathers and Faces” carries the message powerfully by delivering these works she has done on city streets and galleries in New York, Berlin, Amsterdam, San Francisco, Singapore, Burkina Faso, Helsinki, Moscow…
We share this city with pigeons. We look to the same environment to supply us with what we need, including food, water, shelter – depending on physical factors like as soil, air, a temperate climate, other organisms. Adele studies our feathered friends and brings them full force to the streets, and we know that here only the scrappiest survive and get to display their colors.
Feathers And Faces by Adele Renault was published in 2018 and is distributed in the United States and Canada by SCB Distributors. Click HERE for more about this book.
Prayers of supplication and longing, racing teams of stallions and master felines of fury, the exhausted figure of a dream barely still illuminated, a wistful stage in the plundered urban landscape, or a plundered life.
This is what she does to you. As Faith IXVII leaves her stolen stanza, her massive mural in washed hues, her tributes to a moment lost in a city that would leave you to die if it had its way, she makes you make poetry.
Faith XLVII. “EX ANIMO’ THE WORK OF FAITH FORTY SEVEN/ 2010-2018. Drago Publishing. Rome, Italy, 2018. Click HERE for more about this book.
And el Seed is the first to tell you that in this deeply personal account of his art project across fifty buildings in Mashiyat Naser, a neighborhood of Cairo over two years ago. Born of his personal need to challenge himself and to add more to his career as a respected muralist, his original concept of working in this neighborhood of 70,000 recyclers was informed by his own assumptions, perhaps of helping a community known in the city as Zabbaleen, or “garbage people”.
Over the course of the project he and his team describe through interviews and with his own diary style how their own eyes were opened. It is an incremental revelatory experience that paralleled the quote that he stylized throughout the pattern of his piece, “Anyone who wants to see the sunlight clearly needs to wipe his eyes first,” from the writings of Saint Athanasius of Alexandria, a fourth century Coptic Bishop.
El Seed PERCEPTION Published by Point à la Ligne. Milan, Italy. 2018. Click HERE for more about this book.
One thing that some Street Artists do when their work enters the white cube is drop the “street” from their official moniker, instead preferring to be known simply as an “artist”. The decision is possibly to rid themselves of any subtle class distinctions or otherwise negative connotations that a potential collector or curator may have with the “street artist” label.
Other artists formerly known as “Street Artists” feel limited by the title because it doesn’t include all of their new interests and their complete practice – or because the term itself has evolved in their mind and the mind of the public to mean something unfavorable that they do not like to be associated with.
When it comes to the internationally renowned Street Artist Invader, its not a consideration – the street is in his DNA. His cryptic tile-made street practice is so proliferate across the world and so much a part of the metropolis like in his hometown of Paris that his art is literally and psychically fused with the city.
Invasion Los Angeles 2.1 / Updated Edition 1999 – 2018. A Book By Invader. Published by Control P. Editions. France 2018. Click HERE for more about this book.
“Russian Urban Art: History and Conflicts”, Igor Ponosov.
An academically sourced opinion-based essay in book form that looks to art, social, economic, and geopolitical movements during the start of the 20th century to better understand the evolution of Urban Art in post-Soviet Russia, Igor Ponosov delivers a welcome reconstruction of the timeline and movements that bring urban art to this day.
With the renewed interest in public art and muralism that has erupted over the last decade in many so-called Western cities it is good to learn how the public space in Russia has been catalyzed not-only by Hip Hop and new graffiti forms from Europe but also the history of Avant-garde art movements and Soviet Muralism in Russian Urban Art: History and Conflicts.
Igor Ponosov. Russian Urban Art: History And Conflicts. Moscow 2018. Published in collaboration with Street Art Museum, St Petersburg, Russia. Click HERE for more about this book.