All posts tagged: Jaime Rojo

“Martha Cooper: Taking Pictures” : Retrospective Opens This October at Urban Nation Museum in Berlin

July 21, 2020 Artists

The URBAN NATION MUSEUM FOR URBAN CONTEMPORARY ART
presents a six-decade retrospective of Martha Cooper’s photographs.

MARTHA COOPER: TAKING PICTURES

October 2nd 2020 – August 1st 2021

Curated by Steven P. Harrington and Jaime Rojo

Skeme, the Bronx, 1982. Copyright Martha Cooper.

Combining photographs and personal artifacts, MARTHA COOPER: TAKING PICTURES traces her life from her first camera in nursery school in 1946 to her reputation today as a world-renowned photographer.

This retrospective is the first documentary exhibition to be presented at the URBAN NATION Museum and it ushers in a new era for the museum under its new director Mr. Jan Sauerwald.

MARTHA COOPER: TAKING PICTURES presents the photographer’s versatile vision of the world, with creativity found on every corner. The exhibition opens with the images from Subway Art, her landmark 1984 book with Henry Chalfant, now credited with jump-starting the worldwide urban art movement. Martha’s photographs documented the secret subculture of writers and the coded artworks they created illegally on thousands of New York City trains.

Martha’s photographs are distinguished by their frank human vitality, with an eye to preserving details and traditions of cultural significance. Many of her photographs have become iconic representations of a time, place or culture. The exhibition will offer a rare insight into Martha’s archives through previously unpublished photographs, drawings, journals, articles, letters, and artifacts. As a lifelong and avid collector, her private trove of black books, stickers, Kodak film wallets and child-made toys will also be on display. Emphasis is placed on Martha’s extensive travels and the artistic friendships that she has fostered internationally.

180th Street Station Platform, the Bronx, 1980. Copyright Martha Cooper.

Fans will recognize images from her books Hip Hop Files (with Akim Walta, 2004), Street Play (2005), We B*Girlz (with Nika Kramer, 2005), New York State of Mind (2007), Name Tagging (2010), and Tokyo Tattoo 1970 (2011). As an exhibition highlight, the original mock-up of her legendary book Subway Art (with Henry Chalfant, 1984) will be on display, as well as artworks from her personal collection including a pair of original paintings by graffiti king, Dondi.

A multi-channel video installation called “The Rushes” will debut in the exhibition by filmmaker Selina Miles, who directed the documentary Martha: A Picture Story and premiered at the 2019 Tribeca Film Festival in NYC.

An extensive section called “Martha Remixed” showcases the work of over 35 artists who have reinterpreted Cooper’s photographs or paid personal tribute with portraits in an array of styles and mediums and locations. Unique to the exhibition, visitors will see the new collaboration between Martha and multidisciplinary Lithuanian artist Ernest Zacharevic who will create a two-story mural onsite inside the museum.

“We were immediately excited to be given the opportunity to present the world’s first major retrospective of photographer Martha Cooper and to introduce her body of work to URBAN NATION Museum visitors. We are interested in focusing on Cooper’s photographic work and expounding on her working methods. In addition, we will present her worldwide collaborations with artists and protagonists of the street art and graffiti movement and provide audiences the opportunity to delve deeply into the cosmos of Martha Cooper’s work. We are delighted to be able to present and convey a unique compilation of photographs and artifacts from her personal collections.” – Jan Sauerwald, Director of the URBAN NATION Museum.

Lower East Side, Manhattan. NYC, 1978. Copyright Martha Cooper.

Martha’s specialty is documenting artistic process in public space. Her formal training in art and ethnology set a unique template to better understand cultural practices and techniques and her friendships with artists gave her close and personal access to show materials, tools and techniques in detail as they evolve over several generations. As part of this larger practice, Cooper’s iconic photos of clandestine graffiti activities have proven to be a valuable record and an important key to understanding the story of the movement’s proliferation around the world.

Martha’s curiosity has always driven her documentation. Her black and white photographs from her book Tokyo Tattoo 1970 (2011), represent her first foray into an underground art world and hidden practices. In Street Play she concentrated on the invincible spirit of city kids who are creatively rising above their bleak environment. Her photographs of 1980s breakers are the earliest published images of an unknown dance form at the time that became known as central to the definition of Hip Hop culture. As the first female staff photographer on the New York Post, Cooper sought out subjects to pursue independently. Her intrepid and sometimes risky pursuit of taking pictures has inspired many young people to pursue their own artwork and career paths.

Exhibition curators Steven P. Harrington and Jaime Rojo (New York) have been curators and co-curators for the URBAN NATION Museum since 2015 (Project M/7 Persons of Interest, 2015, URBAN NATION opening exhibition UNique. UNited. UNstoppable., 2017). They are also founders and editors of the influential art site Brooklyn Street Art (BSA) since 2008, a respected daily clearinghouse of the global street art scene.

1UP Crew Mural. Detail. Urban Spree, Berlin, 2017. Copyright Nika Kramer.

“Martha’s style is to dive in and be fearless, immersing herself in the moment – and she’s been documenting what she finds around the world for six decades. That’s the attitude we took curating this exhibition, knowing that each element captured in her work is genuine and transient. It is our goal for visitors to be transformed by her unique eye for a historic preservation of the ordinary that is often exceptional – whether it is documenting the verboten process of making 1970s graffiti, capturing youths performing moves that were later called “breaking”, the inking processes of Japanese tattoo culture, or the ingenious games kids devised for play in New York’s abandoned neighborhoods,” say Harrington and Rojo about MARTHA COOPER: TAKING PICTURES.

MARTHA COOPER: TAKING PICTURES
Exhibition Opening
Friday, October 2nd, 2020, 8 pm

URBAN NATION MUSEUM FOR URBAN CONTEMPORARY ART
Bülowstraße 7, 10783 Berlin-Schöneberg

Interviews will be offered in prior with Martha Cooper, Curators Steven P. Harrington and Jaime Rojo, and Director of the URBAN NATION Museum, Jan Sauerwald. Requests can be send to pr@urban-nation.com.

John Lewis Leader, Freedom Rider and Path Maker of Civil Rights Era Dies at 80

July 20, 2020 Artists

We post images from a mural in Atlanta photographed a number of years ago by Jaime Rojo, as we remember with admiration, gratitude, and respect Congressman John Lewis of Georgia.

“I APPEAL TO ALL OF YOU TO GET INTO THIS GREAT REVOLUTION THAT IS SWEEPING THIS NATION. GET IN AND STAY IN THE STREETS OF EVERY CITY, EVERY VILLAGE AND HAMLET OF THIS NATION UNTIL TRUE FREEDOM COMES, UNTIL THE REVOLUTION OF 1776 IS COMPLETE” – John Lewis, March on Washington, August 28, 1963

John Lewis. February 02, 1940 – July 17, 2020. Atlanta, Georgia. The Loss Prevention. (photo © Jaime Rojo)

Representative John Lewis, top left was arrested in Jackson, Miss., in May 1961 along with fellow Freedom Riders. They were swiftly convicted of disturbing the peace. (photo courtesy of Mississippi Department of Archives and History)

BSA Images Of The Week: 07.19.20

July 19, 2020 Artists, BSA Images Of The Week

Welcome to BSA Images of the Week. The weather has been beautiful in NYC and the organic art popping up on the streets is still forcefully advocating for social and political solutions amidst great upheaval, even while…

Police groups want to paint a ‘Blue Lives Matter’ street mural in New York City, Federal officers are using unmarked cars to arrest Portland protesters, Trump Administration Strips CDC of Control of Coronavirus Data, Governor Cuomo Announces $1.5 Million for ‘Feeding New York State’ to Assist Food Insecure New Yorkers and State’s Farmers, 5.4 million have lost health insurance , Biden will not support Medicare for All and Liz Cheney joins forces with Nancy Pelosi to ensure taxes go to fund endless war in Afghanistan after 19 years.

Here’s our weekly interview with the streets, this week featuring Adam Fujita, Almost Over Keep Smiling, Billie Barnacles, Black Lives Matter, Bosko, Detor, Downtown DaVinci, Eric Haze, Fumero, Insurgo, Marco Santini, Marina Zumi, Praxis VGZ, Sara Lynne Leo, and Who is Dirk.

“I consider this mural a gift to New York City and a gift to the world,” says Eric Haze of this design he created in response to the killing of George Floyd and the ensuing Black Lives Matter protests in our city and across many others. (photo © Jaime Rojo)

Unidentified Artist (photo © Jaime Rojo)

July For Art . #blacklivesmatter (photo © Jaime Rojo)

“Don’t talk about it…. Be about it ! ” Detor . Bosko (photo © Jaime Rojo)

Praxis for The L.I.S.A. Project NYC (photo © Jaime Rojo)

Who Is Dirk . Insurgo (photo © Jaime Rojo)

Marco Santini for The Bushwick Collective (photo © Jaime Rojo)

Almost Over Keep Smiling (photo © Jaime Rojo)

Almost Over Keep Smiling. Detail. (photo © Jaime Rojo)

The New York street artist who works under the moniker “Almost Over Keep Smiling” reinterprets slightly this Boston warning poster telling anybody who was black in a “free” state like Massachusetts or New York to stay away from the police because the federal government had passed a law empowering people to capture them and return them to slavery.

From Wikipedia: The Fugitive Slave Act or Fugitive Slave Law was passed by the United States Congress on September 18, 1850,^[1] as part of the Compromise of 1850 between Southern slave-holding interests and Northern Free-Soilers.

The Act was one of the most controversial elements of the 1850 compromise and heightened Northern fears of a “slave power conspiracy”. It required that all escaped slaves, upon capture, be returned to their masters and that officials and citizens of free states had to cooperate. Abolitionists nicknamed it the “Bloodhound Bill,” for the dogs that were used to track down runaway slaves.^[2]

The Act contributed to the growing polarization of the country over the issue of slavery, and is considered one of the causes of the Civil War.

The original appearance of a poster in Boston looked like this.

Untitled. Central Park, NYC. July 2020 (photo © Jaime Rojo)

BSA Film Friday: 07.17.20

July 17, 2020 Artists, BSA Film Friday

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. Street Art For Sustainable Development

BSA Special Feature: Street Art For Sustainable Development

With the UN’s 17+1 Sustainable Development Goals and at least as many artists on hand to interpret them, the City of Turin has had a lot of new artworks on walls throughout the city.

Tapping into a universal language of art and murals that has spread throughout cities around the world, this project imagines meeting all these goals by 2030. Here we present a short documentary that introduces the originators of this mural program, the artists who are painting, and the city of Turin.

Documentary: Street Art For Sustainable Development. Via Cinemage Studio

Replacing Sculpture, Claiming Public Space in Bristol; Marc Quinn & Jen Reid

July 16, 2020 Artists

“When I was stood there on the plinth, and raised my arm in a Black Power salute, it was totally spontaneous, I didn’t even think about it. My immediate thoughts were for the enslaved people who died at the hands of (Edward) Colston and to give them power. I wanted to give George Floyd power, I wanted to give power to Black people like me who have suffered injustices and inequality,” says Jen Reid in an interview with DeZeen about this new piece called “A Surge of Power”.

A remarkable substitution was placed here on July 15^th, only 8 days after a sculpture of the slave trader Colston was toppled from the same place. Various publications give the previous occupant honorable descriptors like 17^th/18th-century Bristol merchant and philanthropist – as if it is an act of magnanimous charity to be a philanthropist after you’ve made your money from extracting years of free labor from people whom you’ve enslaved.

Jen Reid had struck this pose atop the empty plinth and according to published accounts artist Marc Quinn shot a photo of her at that moment, black beret over voluminous locks, fist punching the sky. In consultation with Reid the artist created a monument to that moment – resin and steel cast from a 3D print. With a team of about 10 the new sculpture rose in the early morning hours.

Public space often affords artistic or aesthetic expression only for the privileged, the moneyed, those given permission by “experts”, or corporations who foist their message there. Street artists have been creating new monuments in the last decade and a half, often surreptitiously placing them overnight, sometimes so subtly that the new works don’t attract attention for many days. Once focused primarily on aerosol exclusively, this new generation consider a panoply of artful interventions and “culture jamming” to be as virile and pugnacious.

Here a glistening black heroic figure is well within the wheelhouse of Quinn, who is not considered as a street artist, per se. Moved by the message, he seized an historic moment to use the tools he is familiar with and the voice he wields to collaborate with someone else marching and living in the thick of the structural racism that is being protested, studied, acknowledged, denied.

When it comes to offering opinion about art in public space, it is not surprising how many people take responsibility or a sense of ownership of projects, feel personally gifted or wounded by the presence or absence of a sculpture. The removal of many public sculptures in the last months has thrown the conversations into tumult, raising topics previously squelched or avoided. In an era that is pregnant with the possibility of radical transformation, more people are invested across the culture than at any time in recent memory.

Up and on view only a day, the City of Bristol has removed this triumphant figure of Jen Reid. One wonders if these city leaders are always so rapid in their response to all of their duties. Considering the reports of positive reviews from a majority of passersby during the sculpture’s first day in public, snatching it from public space with such dispatch smacks of silencing speech – especially when you learn that the previous sculpture of Edward Colston – the deputy governor of the Royal African Company – had reigned freely over the spot for 125 years.

A disapproving couple lectures a group saying “You should be ashamed. It should be “All Lives Matter”, from Diologososoul on Instagram

Banksy Strikes Public Transport: Promotes Masks and Cites Chumbawamba

July 15, 2020 Artists

Instagram commenter transparentlemon is irked by Banksy’s apparent defacement of the Tube. “I’m all for graffiti on walls of buildings that’s art,” he says on Instagram, “But on public transport that’s just vandalism”

Oh dear. The Bristol born artist has built his entire career on mucking up public space with his clever observations, but somehow it is still grinding the gears of some peeps who think he might have veered too much into the “vandal” category on this one.

The commenter who self-describes as cultural_creative cannot contenance the idea that the anonymous do-gooding street artist has been fooled by the obviously Bill-Gates-funded conspiracy to take away people’s rights and force them to wear masks and get micro-chipped.

“I’m taking this subjectively..,” they write, “I refuse to believe @banksy would peddle government propaganda he’s too slick for that”

Meanwhile Instagrammer mria_nz is contemplating demographic clues left by Banksy’s sampling reference to the 90s tub-thumping anthem that critiqued and praised middle class banality; “caught the Chumbawamba reference! Is Banksy our age? Lol.”

Yes, he’s done it again, Banksy, presenting his view on a topical topic using his preferred method of aerosol – and heavily edited video – posted to nearly 10 million fans.

“if you don’t mask – you don’t get”, he calls it, a double negative that implies that wearing a mask will increase your chances for Covid-19? Surely not. Surely not?

Posted on his Instagram account we see a video of a man, believed to be the elusive international man of mystery himself, wearing the ubiquitous protective cleaning gear of many public professionals and holding the sanitizer sprayer for quite a different task. The “cleaning” man proceeds to stencil several rats wearing masks and sneezing in full pandemic mode.

View this post on Instagram

. . If you don’t mask – you don’t get.

A post shared by Banksy (@banksy) on Jul 14, 2020 at 6:30am PDT

Vermibus: Variations of “ADAMANT”

July 14, 2020 Artists

Stylish de-constructor/reconstructor Vermibus continues to refine his practice of image mutilation, sometimes superseding dreams and a couple of nightmares.

Vermibus. *Variations of “Adamant”* (photo © Vermibus)

It’s a discomforting experimental approach that began in earnest with the backlit bus stop ads for fashion and cosmetic brands; an aesthetic war against those who would presume to determine what beauty is by peddling their wares and worldview in public space. Somehow it turned gorgeous.

This week he releases a limited edition of “Adamant” an analogue print on baryt matt paper, signed and numbered. The experiment continues, and the results are glimpsed through a veil, speckled by city soot.

See the Adamant collection

A Giant in the Street : Michael Hunter’s New Installation

July 13, 2020 Artists

As a child, there are endless possibilities at play in our experimental minds, unfettered by hard realities or mere gravity. In the world of children, everyone seems like a giant. Acting upon your own configured and perfectly ordered universe, proportion necessarily intimates that you have become the giant, and all of these toys are miniature playthings for you alone to determine the fate of.

Michael Hunter. Process shot. (photo © Michael Hunter)

London based artist Michael John Hunter is fascinated by this transformation of relative size and revisits the implications in the adult world, occasionally foisting his hyper-realistic and detailed sculptures into public space.

Practicing over a decade in this scaled world, the sculptures, sometimes 17-footlong barbie dolls laying in the street, surprise and perplex you when you run into one – causing you to glance around the immediate surrounding area to reassure you that you haven’t sudden shrunken. He photographs his own work, and this practice only intensifies the cognitive puzzlement, an intentional shooting from a certain height and angle with a specific focus technique.

All tolled, his artistic/sociologic practice is a welcome examination of perceptions and our own relative awarding of importance that is based on our individual assessment of people, places, and things.

He tells us: “After the lockdown was over here I finally was able to finish another sculpture and get it out into the street to photograph. It is the same concept as all my previous works.”

Michael Hunter. Broken Wrestling Toy. (photo © Michael Hunter)

Check out this artist @michaeljohnhunter

BSA Images Of The Week: 07-12-20

July 12, 2020 Artists, BSA Images Of The Week

Welcome to BSA Images of the Week.

The writing is on the wall, literally, throughout the street art and graffiti scene right now, and you’re forgiven if it is confusing. We’re confused. We’re also clear on a few things.

The silent storm of Covid-19 has battered our doors and now is simply caving in the roof. The open rift between races and our legacy of disenfranchisement of our own is on parade. The one party system disguised as two stands by; quietly and deliberately offering no big ideas or massive structural programs to backstop the economic collapse either, content simply to hand out the contents of all the cupboards to friends.

The prediction from the first piece below doesn’t sound like the prophetic future shock of Gil Scott Heron as it did when he released it. Rather, its a given. While social media is still relatively unregulated, that is.

Here’s our weekly interview with the streets, this week featuring Amir Diop99, Melvin Q, Michaelangelo, Mustafina, and Pedro Oyarbide.

Unidentified artist. Mustafina (photo © Jaime Rojo)

Pedro Oyarbide for Overall Murals. Detail. (photo © Jaime Rojo)

Overall Murals. Detail. (photo © Jaime Rojo)

“Love in a tough time”: Crash x Joe Iurato at Welling Court 2020

July 11, 2020 Artists

“And now these three remain: faith, hope and love. But the greatest of these is love.”

Graff train writer, street artist, and studio artist CRASH invokes a Bible verse (1 Corinthians 13:13) here to find common ground in a nerve-wracking, sad, and polarized time in New York.

Crash x Joe Iurato. Welling Court Mural Project NYC 2020. (photo © Jaime Rojo)

This year’s Welling Court Mural Project was necessarily unannounced, as organizer Alison Wallis wanted to be responsible for people’s health and avoided the possibility of crowding – inviting just a few people at a time to paint, and notifying just a few that the action would happen.

The artists didn’t always know what they would do ahead of time either, including old-skool NYC goldstar veteran CRASH and one of the last decades’ stencil talents Joe Iurato, who decided to combine their styles to see how it would play. Then they got talking, thinking and in a flash decided to collaborate.

Joe’s stencil was cut from a photo he had taken at the same spot at last year’s edition of Welling Court; Cey Adams had painted there last year as well and he had taken his grandchildren along for the ride. At some point, the three kids were sitting on the step ladder together and Joe snapped the photo. Iurato thought he’d bring the kids back this year via stencil.

“Joe and I didn’t talk about integrating our work together,” says CRASH, who was assisted by Gemini. “We just did it! – it looks really nice.”

CRASH says he was encouraged by artist Queen Andrea to do something new for the wall instead of writing his name, which he customarily would innovate by playing with fonts, styles, colors, and techniques. When he was thinking of a word to convey his hopes for his fellow New Yorkers, he tells us that at first, he was going to do the Spanish word for love – Amor. But ultimately ‘Love’ won out.

“Each letter is a different typeface that signifies something,” CRASH tells us. “The letter ‘L’ contains a play on a thermometer because of the health crises we’re in. I wanted to keep the ‘O’ light so I used ice cream colors so it looks like an ice cream cone. The ‘V’ is falling because love is becoming something that is almost nonexistent and we need to hold onto it. The ‘E’ is just an old-fashioned graffiti style ‘E’ which is what we do,” he says, “So put it all together and it’s love in a tough time.”

Crash, Joe Iurato and Gemini. Welling Court Mural Project NYC 2020. (photo © Jaime Rojo)

BSA Film Friday: 07.10.20 / Chip Thomas and The Navajo Nation & Radio Juxtapoz

July 10, 2020 Artists, BSA Film Friday

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. Chip Thomas and True Artivism

BSA Special Feature: Chip Thomas and True Artivism

We’re switching it up a little this week and recommending an audio podcast with Radio Juxtapoz instead a film. We think you’ll dig it.

Chip Thomas (aka Jetsonorama), his art, and his photography has of course been featured on BSA and his work/life/activism perhaps 40 times since the late 2000s, but its usually been a blend of other peoples’ stories that we have helped him deliver.

Larry King, a Church Rock resident who was an underground surveyor at the Church Rock Uranium mine at the time the dam failed in 1979, speaks to a group of anti-uranium activists on the 40^th anniversary of the spill, July 16, 1979. Activists were present from Japan and across the U.S (photo © Jetsonorama) Jetsonorama Tells “Stories From Ground Zero”

Over the years we have facilitated his historically informed storytelling on the health and life of people on the Navajo Nation, the US dumping radioactive matter there, issues surrounding climate change, the voting rights act, the March on Selma, the favelas in Rio, his “Painted Desert” multi-year project with invited Street Artists.

*Chip Thomas in Brooklyn commemorating the March to Selma. (photo © Jaime Rojo)* 50 Years From Selma, Jetsonorama and Equality in Brooklyn

All the time Chip has been showing us how to bridge communities, raise awareness, through socially engaged street art and photography.

Here you’ll enjoy Evan Pricco and Doug Gillen as they dig deep through the personal and professional history of this artist, activist, and doctor. For once here you’ll hear his actual voice and trace his navigational route in storytelling about himself and the path he’s taken to bring to the surface of our consciousness the people who the US historically makes invisible.

Chip Thomas Is Telling The Story Of The Navajo Nation Through Street Art. Via Radio Juxtapoz.

“Occupy City Hall” Turns Into “Abolition Park”

July 9, 2020 Artists

Occupy City Hall is a movement that appears to bear a very close resemblance to the Occupy Wall Street movement nine years ago. Born with the protests against police brutality and the murder of George Floyd, this movement created an encampment located on Centre Street next to City Hall Park and near The David N. Dinkins Manhattan Municipal Building, named after the 1990s mayor.

Occupy City Hall #blacklivesmatter (photo © Jaime Rojo)

Occupy City Hall is open 24 hours a day and at the height of the protests it drew hundreds of people who joined the activists with their demands to trim the NYPD budget at least $1 billion from the police department’s current $6 billion budget. During the debates and passing of the new budget at the beginning of July the City appeared to have cut a billion, but critics say it was some fancy footwork that gave the appearance of giving citizens what they demanded.

We went to the camp on a day just after the encampment had experienced heavy rains and suffered an early morning raid by the police. It had an unsettled atmosphere, with some raging outbursts and some quietly warm generosity exhibited among the primarily young crowd. Guess everyone needs a sense of balance these days. The encampment has a communal library, a space for drinking tea, room for meditation and, a sign-making workshop. Most people are welcomed and it also provides a safe space for homeless people in need of a hot meal, a place to rest, and clean clothes.

Now these New Yorkers are calling the location “Abolition Park” and as the encampment evolves it continues to be a very well organized community of people with volunteers serving hot meals, distributing protest kits, water, and first aid for those in need of it.

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