Did you see that micro-moon on Friday the 13th? We were up on the roof with artists and friends and weirdos celebrating “mid autumn moon” and looking at the New York skyline and that beautiful moon, which didn’t seem 14% smaller, did it? Seemed like your run-of-the-mill gorgeous Harvest Moon, right? Also, a dope opportunity to say “apogee“, which you just don’t get to say very much. No those are not those tassels that exotic dancers put on their nipples.
So here’s our harvest of Street Art and graffiti for you! The city has been producing amazing crops all year, to tell the truth.
Here’s our weekly interview with the street, this time featuring Almost Over Keep Smiling, Crappytalism, Jason Naylor, Jocelyn Tsajh, Li-Hill, Peoples Power Assembly, Plannedalism, Pure Genius, Rider, Subway Doodle, Surface of Beauty, The Joker, Thomas Allen, and Will Kurtz.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Word on the Street” Debut 2. INO – “Freedom For Sale” in Athens 3. Two in a Row from Alex Prager: “La Grande Sortie” & “Despair”
BSA Special Feature: “Word on the Street” Debuts
the old days. Graffiti is now!”
The last five years have been explosive for Street Art worldwide, and with “Word On The Street” you have a good indicator that the graff writing game is alive and well in New York as well – and tenaciously prolific.
Anonymous filmmakers infused the doc with vibrating audio and visual distortion and a sense of ever-present surveillance, or the implication of it cloaked in darkness. Interviews, late night runs, frozen wire fences, loose footing, bloody scrapes, and the sweet smell of aerosol lightly purring from cans across a shadowed wall. The labor of love for the filmmakers is the only thing that pushes a project like this to fruition. And fumes of course.
Featuring 143, AJES, BIO, BRAT, CASH4, CARL WESTON, CLAW, CHRIS RWK, DEK 2DX, DIVA, DSR, EDO, EL7, FAES, FLASH, JAKEE, JESUS SAVES, KLOPS, LEX, LOOSE, MERK, MRS, MUTZ, NEG, NOXER, PANIC, PLASMA SLUG, POE, SCAE, SEO, SILON, SMURFO, SPRAY, STOR, STU, and VEW.
INO – “Freedom For Sale” in Athens
Constantino Mass adds just the right amount of slickly pounding wipes and cuts to this installation by INO in Athens. We published photos from this a few days ago so have a look and enjoy the video.
Two in a Row from Alex Prager
Alex Prager debuted a new short film at Lehmann Maupin Gallery in New York this month, and it has piqued the interest of many in her work of disconnected, reconnected narratives. Impeccably styled, humorously shot, it’s a staged invoking of old Hollywood and street scenes, enveloped in drama and frequently suspense. Often the LA born director provides just the deconstructed portion of the scene you have seen, and keeps reworking it in surprising ways. Go to the gallery to see the new “Play the Wind”. Below are two of her short films from five and nine years ago respectively.
Ibiza is that place where you appreciate beauty and youth and hedonistic forays into western values of free will and free love. Or at least that’s what we’ve heard.
While Street Art was probably not initially part of the brief of this island when it transformed its reputation as a destination for fog-machine laser glow-stick dancing and poolside debauchery, initiatives like the BLOOP International Proactive Art Festival have extended the creative range of expression that is celebrated for almost a decade now. With the theme of “Art is for Everybody”, BLOOP has welcomed more than 60 murals and installations so far – about 30 of which are currently on view throughout the year on the isle known as an adult playground.
Today we look as a more conceptual/situational installation in the Balearic
Sea that surrounds the Spanish islands, a la Brad Downey or Fra. Biancoshock.
Here laying on the bottom of the quivering, wiggling and enticing blue sea you
are invited by VLADY to play hopscotch. As if to channel the mindset of many a
party animal, he is labeling the installation “Whenever, Everywhere, Anyway”.
An argument today from SEBS for the power of politically charged Street Art in the suburbs of Lisbon. He shares with us his new adaptation of a previous project on child labor called “Slaves ‘R’ Us.” This one is a consciousness raising campaign he’s calling “Headvertising”
The mindless obeyance required by consumer advertising messages and PR firms
that push disinformation has left the suburban landscape a disjointed,
deactivated communities. We would argue it is about an eroding sense of
responsibility toward preserving local culture, the pod-based life of traveling
from location to location in automobiles, the lack of communal public spaces, and
the seductive power of electronic media that demands us to sit passively and be
entertained to death.
In our cities, the vox populi is alive and well on the streets, and our Street Art reflects it with textural and visual critiques of politics, policy and culture. But SEBS (Mauro Carmelino) says that he’s creating and advertising for fictional products to encourage us to “use our heads” and think about the great problems of modern societies, such as consumerism, pollution or the misinformation. He talks about these humorous hand-painted pieces he’s been putting up to help people re-connect, and he tells us about the disconnection between the suburbs and the city and how he feels about populations whom he wants to reach.
“The geographical gap between the city and the suburbs is accentuated in the
degree of information and even in education, particularly in older age groups
and in the most economically fragile communities. This remoteness has a
negative impact on the ability of suburban populations to be part of
discussions that can lead to the decisions that alter the social fabric, which,
like in a vicious cycle, aggravates their remoteness – turning it into a kind
of endemic exclusion.” To tell the truth, this isolation happens everywhere.
Today’s images come from the neighborhood of Reboleira, Damaia and 6 de Maio
in Amadora city in the northwest of the Lisbon metropolitan area.
“These works are meant to be of satirical or subversive nature,” SEBS says, “with a light and sometimes even humorous approach. Advertising that usually sells products, brands and dreams of consumption is used to sell us structural social problems. I want the audience to turn from a passive consumption of reality to develop the critical thinking the world so badly needs to change.”
Here his message is conveyed through mass culture vernacular influenced by cartoons – the medium is brush and aerosol.
“As a European without a driver’s license it can be a task to get around in America.”
Walkable Neighborhoods? D. That’s one grade above F (Fail) – it’s the grade the United States gets on its own report card on walking safely in our towns and cities. Actually, that’s one of the better grades in the report, where in most categories the United States is failing, especially in comparison to the rest of the developed world.
simply don’t make it easy, safe, or friendly for people to walk here.
a European without a driver’s license it can be a task to get around in
America,” says Street Artist BustArt, who shares with us his new colorful
crosswalk in Greensboro, North Carolina. “Once you leave downtown the sidewalk
becomes smaller and narrower, to the point where it is nonexistent. Same for
the crosswalk, you get roughly19 seconds to make it over a massive stretch,
while cars still pass over it due to the green light.”
by commercial real estate developer and brewery owner Marty Kotis to add to the
85 murals he has organized in the city over the past few years as part of a
program called Kotis Street Art, BustArt says that he decided to paint
something on the ground as a departure.
I arrived in Greensboro we looked at a few spots where a crossing would work,”
he says. “Sadly there was not enough time to get the city onboard so the
crossing had to be on private property.”
Even though it wasn’t painted across a city walkway, his crosswalk project of colorful pop/advertising inspired pavement was harder than he thought, he tells us. First, he painted at night when there was less traffic. Secondly, a heavy rainstorm damaged 40% of the work. “At 5am we were finished and extremely happy about the outcome . . . until two minutes later it started to rain heavily for a short yet frustrating 15 minutes.”
After another nine hours of painting, the project was finished – and BustArt says he wanted to make sure it actually could be used to safely protect walkers. “We added a non-slip varnish to roughen up the surface and make it safer for pedestrians.”
says he would like to thank: Keif for his knowledge, Skatin for his hard work
and motivation, Kotis Street Art for making it possible, and photographer Peggy
Butcher who provided the great images and documentation.
Surreally yours! The art on the streets this week appears to reflect the times. It’s going to take all this creativity and force to turn the tides!
Here’s our weekly interview with the street, this time featuring 1Up, AJ LaVilla, Android Oi, Cern, Dark Clouds, Dirty Cobain, Early Riser, Invader, Jason Naylor, Little Ricky, Lubaina Himid, Lucas Blalock, Oscar Lett, Robson, SacSix, Subway Doodle, Zimer .
Photographer Martha Cooper again rules the roost at BSA with her new photos of the 20×21 EUG Festival in Eugene, Oregon. Organized and funded by the City of Eugene’s Cultural Services Public Art Program, the citizenry is invited to be a part of events and symposia – an intimate affair with this years select list of invited artists.
“This year 20×21 organized ‘viewing parties’ at the walls to give the community an official chance to meet and socialize the artists at their walls,” says Ms. Cooper about the 10 day series of events. You could meet Fintan Magee at his wall, or talk to Sidney Waerts aka SIT at Well Balanced (center for integrative care), consort with local muralist Kari Johnson at Lane County’s Dining Room, or see a new show of incredibly framed artworks at Coffee Plant Roaster with painter Adele Renault and photographer Ms. Cooper.
small family owned businesses, the chamber of commerce and cultural
organizations together with the artists and artworks is a finely balanced
effort, and according to people we spoke with Eugene is careful to get the
balance right. For example the combination of Adele’s mural and Ms. Coopers
photo installation was in a coffee shop owned by Irv Weiner, who is a pigeon
flyer/fancier originally from New York.
coop is on top of the building with the pigeon mural and the coffee shop is
inside,” says Martha of the interconnectedness of programming. Now Mr. Weiner
has added to his list a cannabis growing supplies business; a rather normal development
in this city that has become known for its marijuana-related economy during the
Here are exclusive images of the artists at work, as well as some additional interesting details and local color about this mural-centric cultural event in Eugene.
Eugene was first recognized as good mural festival location perhaps because of the work done here by activist, performer, storyteller, and public artist Kari Johnson. Her dedication to her work as social mission and communication inspires her peers and is emblematic of what Eugene is.
“Both of my grandmothers were painters named Ida. They managed to paint landscapes and still lifes in spare moments while raising big families during the Great Depression and WWII. Continuing where they left off I began painting when I was 14 and completed my first mural 10 years later. Other than learning how to make prints with potatoes at a summer fair, I am self-taught.
I feel the most inspired when I’m making public art. Being a public artist is like being an architect of mood, stirring feelings and inspiring connection, helping to anchor and identify a place. In my art I particularly care about promoting social justice, harmony between humans and our plant and animal relations. I want my art to invite individuals to belong to the place, join community, and help shape our human story.”
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Swoon and The Heliotrope Foundation: A Catalyst For Local Change 2. One Minute Dance: Petites Deambulations Sur “Paradis Perdus” 3. Festival Concreto #5 – Narcelio Grud in Fortaleza, Brazil 4. Murfy Paints Mural for La Fiesta de los Corremayo
BSA Special Feature: Swoon and The Heliotrope Foundation: A Catalyst For Local Change
term economic development? From a Street Artist? Sustainable homes? Jobs?
if the question is about Cormiers, Haiti and the answer is Street Artist Swoon
with her Heliotrope Foundation. You can draw a direct through-line from her
earliest wheatpastes of people on the street to the earthquake surviving Haitians
whom these buildings and programs are for and from. By listening, sharing, and
working alongside, the volunteers and foundation have been building community. And
you thought it was all about vandalism, didn’t you?
One Minute Dance: Petites Deambulations Sur “Paradis Perdus”
Nadia Vadori-Gauthier, the performance artist behind the project One Minute of Dance Per Day, has teamed up with other dancers for a new project titled Petites deambulationssur “Paradis Perdus”
Festival Concreto #5 – Narcelio Grud in Fortaleza, Brazil
For 6 years artist, professor, and organizer Narcelio Grud has gradually
grown the Concreto Festival in Forteleza. As he and the team prepare for
November’s new edition, he tells BSA readers about this video recap of Concreto
“In the timespan of 9 days, downtown Fortaleza received more than 40 artists from Brazil and all over the world to participate in the 5th edition of Festival Concreto – International Festival of Urban Art. Great names from the urban art scene, such as Mônica Nador, Guto Lacaz, Inti Castro, Sabek, SatOne and others, met between November 16 and 24 to color and democratize art in the city.
In the year of 2018, the Festival brought interventions and other activities
to Downtown neighbourhood in Fortaleza, Brazil, called ‘Centro’. The idea was
to occupy and reestablish the connection with an area of the city that was once
a great place of cultural movement, especially in the city’s ‘Belle Époque’. All
this brought color and movement to the local landscapes, realigning the
neighbourhood to a greater valorization of urban culture.
In the video, you can watch most of the activities and artworks that took place in the Festival, as well as participant artists, staff members and the general public talking about their experience within Concreto.”
Murfy Paints Mural for La Fiesta de los Corremayo
Muralist Murfy was in the south of Spain to paint this four-story portrait of a child on the street. “This is a girl dressed in a harlequin costume,” he says of the outfit, “a typical feature at a party in southern Alhama de Murcia, which is where this is.” The La Fiesta de los Corremayo is at the end of April and beginning of May and features bands, music, food, and lots of dancing in the streets by people wearing variations of the harlequin.
true, Athens is still in the throes of austerity, but not for everyone,
The severe financial austerity imposed on Greece’s government and people by the international bankers was never meant for everyone – vulture capitalism is designed with winners in mind.
Just check out the clubs and nighttime entertainment near Kolonaki Square where this new INO mural is.
Once you pass the phalanx of security, you are welcomed into the party – preferably wearing designer labels – the men are in blazers and “casual cool” as they watch barely dressed women in high heels dancing on the stage, sometimes acting out fantasies to the aural euphoria and plumes of smoke blown skyward. In these thumping houses of free-market hedonism, you can feel free while waving your hands and glow sticks in the air at the DJ booth, but for a comparably hefty price.
This financial inequality may have been on his mind when INO painted this new mural. “They did not give me a specific theme and I chose to create an image that from the first point of view may look optimistic but it is not,” he says. The title is “Freedom for Sale”.
Today we return to community murals for a minute, just to check on the progress of Barcelona based artist Laia. She says she started as a graffiti writer in ’99 at age 14, eventually gaining respect from peers for her serious skillz with tags, pieces, and style on underpasses, trains, walls, and freights.
Two decades later, she’s redefining her style, she says. Here you may think more of street art motifs and when you look at her new wall for community group Contorno Urbano in her hometown Barcelona.
She says she’s looking for positivity these days for herself, and she wanted to create something that reflects it to the neighborhood of Civic Center Cotxeres Borrell. Maybe something kid-friendly.
She’s calling it “Magic Avenue”. “There is no negativity, no sad colors, no violence!,”
The nascent voyage of ‘Nuart Journal’ comes slowly into view as a softly bound Street Art/graffiti cultural preservation document; its glossy cover is purple for issue Number 2, like a thick royal-court velvet, or a bruised eye.
Editor-in-Chief Martyn Reed opens this forum to a hand-selected series of thought leaders, artists, organizers, academics and friends who are invited to impart, illustrate, confound and inspire. It is an extension of what he has endeavored to do with his annual invitational public art/commercial art festival Nuart- the newest edition which commences this week in Stavanger, Norway.
An impossible goal; to track the precise movement of the dancing tentacles of this scene as it grew – as it grows – much less to assign motivation or significance or measure impact. A mutational march of interconnected disconnectedness, no amount of pontification will ever fully capture the width of this circle, but Nuart Journal is beginning to take its measure and introduce a sense of order if only to better examine it. The theme is “Eloquent Vandals”, a reference to Nuart’s 2011 self-survey in hardcover. Themes range from colorless black street bombing to definitions of place and authenticity, to Street Art’s movement into conceptual, and decolonizing artivism.
The layout is the new utilitarian modern; clean-framing articles, essays, interviews, inquisitions – text-based and visual. Editor and academic Suse Hansen is nimble, streetsmart, and canny in her guiding of contributors. Hopefully, she can continue to steer confidently through these choppy waters, guiding a forward-moving course of enlightening observations – as the ship passes icebergs of false intellectualism, pirate boats of one-eyed tribalist gatekeepers, or the occasional showboat. Anglers ahoy!
Here’s the lineup of contributors for “Eloquent Vandals”, Nuart
Journal Volume 1 Number 2, 2019;
Jeff Ferrell, Oskolki, Jens Besser, Georgios Stampoulidis,
Daniel de Jongh, Jaime Rojo, Vlady, Alison Young, Reuben Woods, Lindsey
Mancini, Christian Omodeo, Vittorio Parisi, Faith XLVII, and Milu Correch.
Nuart Journal, Stavanger, Norway. Editor@nuartjournal.com Click HERE for more about Nuart Journal.
Labor Day in the US and around the world draws our attention to the rights of workers. A compounding topic is the fact that 265 million children are working around the world, according to the International Labour Organisation.
Because of our collective neglect as human
society, children are being forced to work to provide for their families in
countries all over the world. In many poor countries, children must work to
provide for their families otherwise their families will go hungry.
Why do children have to work? Shouldn’t they be free to enjoy their childhood, be fed and clothed, go to school? This is a problem that needs to be condemned as much as it needs to be understood. Simply advocating for universal children’s rights to education, housing, and health care isn’t enough. For as long as greed and unchecked capitalism run amok, families are pushed into poverty – and some children are forced into labor, exploited, and abused under a constant threat of violence.