Hey Brooklyn Artists! This is your moment to shine and showcase your incredible talent at the iconic Brooklyn Museum, which is throwing a massive bash to celebrate its 200th anniversary. And guess what? You’re the stars of the show. The museum is rolling out The Brooklyn Artists Exhibition this fall, paying homage to the rich history of creativity and artistic brilliance that defines the borough. This isn’t just any exhibition; it’s a love letter to Brooklyn’s diverse and dynamic art scene, curated by some of our own local legends: Jeffrey Gibson, Vik Muniz, Mickalene Thomas, and Fred Tomaselli.
Why Brooklyn artists, you ask? Because Brooklyn’s heart beats through its art. From Walt Whitman’s early days as the museum’s first librarian to the vibrant streets filled with the energy of new immigrants, Brooklyn has always been about community, knowledge, and the transformative power of art. This exhibition is more than just a show; it continues a legacy that champions local talent and community spirit.
Whether you’re into painting, sculpture, video, performance, or any other medium, this open call is your chance to be part of Brooklyn’s artistic lineage. We want to see your work if you’ve been living or creating in Brooklyn for the past five years. Dive into this unique opportunity to stand alongside your fellow Brooklyn creatives in the Museum’s Great Hall, illuminating our borough’s artistic journey’s past, present, and future. Let’s make history together, Brooklyn style!
To Apply
The application deadline for The Brooklyn Artists Exhibition open call is Sunday, April 7, 2024, at 11:59 pm ET. Applications must be submitted on or before the deadline to be considered for the review period. Late submissions will not be accepted. Submissions will only be accepted via the Brooklyn Museum’s Submittable application. Email submissions, phone calls, or walk-ins will not be considered. There is no fee for applying to this exhibition open call.
CLICK HERE FOR DETAILS ABOUT HOW TO APPLY TO THE OPEN CALL
A groundbreaking exhibition showcases over 200 photographs of graffiti by Gordon Matta-Clark.
Gordon Matta-Clark. Tag Wall. 1972. (photo courtesy Estate of Gordon Matta-Clark)
“GRAFFITI ARCHIVE 1972/73: An Exhibition of Photographs from Gordon Matta-Clark” provides a unique glimpse into the graffiti culture of New York City in the early 70s, shot by the New York artist at a time when the movement was just beginning to take shape. Matta-Clark’s exploration of this vibrant street culture reflects his eye as much as the burgeoning scene in evolution, a unique pairing of artists’ visions through film.
Gordon Matta-Clark, known for his significant impact on conceptual art and his critiques of urban environments, captured these moments with a different aim than most photographers of his time. Instead of simply documenting, he delved into the graffiti scene with an artist’s eye, capturing the raw and spontaneous energy of the city’s youth. His photographs from 1972 and 1973 reveal the early days of graffiti, where the art form was more about personal expression and claiming space in a rapidly changing city than about the notoriety it would later bring.
Gordon Matta-Clark. 7UP. 1972. (photo courtesy Estate of Gordon Matta-Clark)
Roger Gastman, a key figure in the graffiti community, has played a crucial role in bringing this collection to light. He speaks of the exhibition not just as a display of historical moments but as an important act of preservation, bringing well-deserved recognition to Matta-Clark’s work and the graffiti culture of the time.
“What really resonates with me is the sense of pride I feel to be able to share these photos,” he says. It’s not just about showcasing graffiti—it’s a genuine homage to real history, a glimpse into the ‘who,’ ‘what,’ and ‘where’ of these vibrant stories etched onto walls and trains. I can’t help but feel happiness, knowing that Gordon Matta-Clark had the foresight to capture these moments and that his estate entrusted us to put this show together—it has truly felt like a collaboration,” says Gastman.
He emphasizes the significance of these images, highlighting the collaborative effort between himself and Matta-Clark’s estate to showcase this hidden chapter of art history.
“Throughout the years, I’ve invested considerable time into unearthing vintage gems from the early ’70s—drawings, paintings, and ephemera that tell stories of a bygone era. This exhibition, for me, is like revealing a well-kept secret, placing these treasures in their genuine context,” he says.
Gordon Matta-Clark. SUPER KOOL 1 Tag Wall. 1972 (photo courtesy Estate of Gordon Matta-Clark)
The exhibition doesn’t stop with Matta-Clark’s photographs. It also features original artworks from notable graffiti artists of the period, such as SNAKE 1, SJK 171, LEE 173rd, WICKED GARY, TRACY 168, and STAY HIGH 149. These pieces offer a direct link to the images captured by Matta-Clark, providing a fuller understanding of the era and its artistic output.
Gordon Matta-Clark. STAY HIGH 149. 1973. (photo courtesy Estate of Gordon Matta-Clark)
BEYOND THE STREETS & CONTROL Gallery announce the opening of “GRAFFITI ARCHIVE 1972/73” on March 1 and continuing until April 13, 2024.
The opening reception for EXHIBITION 010: GRAFFITI ARCHIVE 1972/73 will be held on Friday, March 1, 2024 from 6PM – 9PM, running through April 13, 2024.
New York State Governor Kathy Hochul wants to classify some graffiti as a hate crime. The arts and culture press has been writing alarming headlines about this new proposal by the Gov, but the burden lies on the lawyers who need to prove that the intention of the graffiti writer was to target a protected class of people with a hateful screed. Wonder if they will hand out tickets for poor handstyles, too.
New York neighbors and peers of the orange man tried years ago to warn the country against him – and yet he was elected. Now Trump has to pay fines for “ill-gotten” gains totaling $453 million. He really hit the jackpot when the judge barred him and his two sons Friday from serving as an officer or director of any New York corporation. Leading the country, presumably, is still fine.
A day after the verdict, he was hawking golden Trump sneakers. Let’s see, $453 million divided by $399.00…
Here is our weekly conversation with the street, this week including Stikman, Homesick, BK Foxx, Calicho Art, Werds, Goog, LA2, TBanbox, ICU463, Propa, NAY183, Bukse, Joser, Vicer, Faire, Shicks, Angel Ortiz, Mr. Doodle, and Albie.
Ben Wakeling, a British artist celebrated for his abstract figurative art on the street and on canvas, brings his unique expression to BSMT with “Abstract Figurativism: Loving Fiercely.”
Wakeling, known for his powerful charcoal lines and bold colors, explores the depths of self-portraiture by letting his hands draw in an automated way, revealing his inner consciousness. His work, a blend of abstraction and classic portraiture, transmutes the inner workings of his world onto canvas.
Wakeling, known for his powerful charcoal lines and bold colors, explores the depths of his self-portraiture by letting his hands draw in an automated way, revealing his inner consciousness. His work, a blend of abstraction and classic portraiture, transmutes the inner workings of his world onto canvas.
This exhibition, opening this February at BSMT, promises a journey through Wakeling’s exploration and re-invention of self-portraiture, showcasing a collection of large-format paintings and unseen drawings.
According to the press release, “He lets his hands draw in an automated way, reminiscent of the surrealist exercise of revealing inner consciousness through automatic writing. However, what Wakeling expresses is his identity in self-portraiture, suppressing conscious control in the process.”
The exhibition will feature a collection of eight large-format paintings alongside a selection of never-before-seen drawings.
Today’s art intervention by Italian street artist Biancoshock is poignant and grand. It bridges history, geography, and the collective memory of migration with a thought-provoking project along the unfinished road stretching between Albania and Montenegro, beside the serene Shkodër Lake.
Intended to connect the two nations, the road abruptly halts at the border, serving as a silent witness to the aspirations of Albanian immigrants who once traversed this route in search of new beginnings. The intervention erases dividing lines on the Albanian side and installs a starting grid at the border, transforming the pavement into a potential symbol of hope and new beginnings.
“With this action, I aim to address the topics of immobilization and stasis, elements that hinder any form of restart—be it social, economic, or cultural,” Biancoshock tells BSA. “The starting grid symbolizes the initial point for a new beginning; it’s a call to action, an invitation to create the second part of the road that could connect the two countries more efficiently.”
More than an artistic gesture, this serves as a powerful commentary on the possibility of overcoming past barriers and envisioning a future filled with renewed connections and opportunities. An unfinished road becomes a canvas for contemplating the intersections of history, mobility, and the potential for revival.
New Yorkers are having a grand celebration this weekend as the Year of the Dragon begins, and traditional lion and dragon dances wend their way through Chinatowns in Manhattan and Queens. You’ll be seeing lots of red, hopefully getting some money in red envelopes (hongbao), and eating dumplings (symbolizing wealth), fish (representing surplus and abundance), and sticky rice cakes. To all our neighbors celebrating, “恭喜发财” (Gōngxǐ fācái), which means “Wishing you wealth and prosperity.”
Later this week, we’ll all profess love for one another on Valentine’s Day. Looks like red is the color for New York this week.
Here is our weekly interview with the street: this week featuring Homesick, Toxicomano, ERRE, CP Won, Qzar, Hektad, Jappy Agoncillo, ToastOro, Senk, Stesi, CASH RFC Crew, OSK OSK, NAY, and Kosuke James.
As founding members of the Martha Cooper Library at the Urban Nation Museum in Berlin, Brooklyn Street Art (BSA) proudly showcases a monthly feature from the MCL collection, illuminating the extensive and diverse treasures we’re assembling for both researchers and enthusiasts of graffiti, street art, urban art, and its numerous offshoots. Below, we present one of our latest selections.
“City of Kings: A History of NYC Graffiti” is a crafted exploration of the graffiti scene’s historical roots in New York City. Born from a prominent exhibition co-curated by Al Diaz, Eric Felisbret, and Mariah Fox, this book transcends the role of a mere catalog to become a substantive text that presents a detailed overview of the graffiti movement in a structured, academic, and engaging manner.
In the shifting culturescapes of urban contemporary art, STRAAT Museum’s latest exhibition, “Moniker: An Origin Story,” emerges as a poignant narrative that bridges the transient heritage of hobo monikers with the vibrant pulse of today’s street art scene. This show not only marks an exploration into the roots of a movement but stands as a tribute to Russell Butler, known as buZ Blurr, a pivotal figure who recently passed away, and whose legacy in the realm of freight train artistry has left an indelible mark on the canvas of American folk art.
The practice of hobo writing on trains, a tradition from the early 20th century, encapsulates a form of rebellion against the confines of societal norms, embracing a nomadic lifestyle that flourished alongside the tracks of freight trains. In their quest for freedom and community, Hobos developed a unique language of symbols, or “monikers,” that became a vital means of communication within this itinerant community. These monikers, often rendered in solid paint sticks or industrial crayons, are the precursors to the graffiti and punk DIY styles that would later permeate urban landscapes, among other things, embodying a spirit of protest against modern society’s failings and creating platforms for random acts of poetry.
buZ Blurr, an artist who commenced his journey within the rail yards of Gurdon, Arkansas, crafted a visual lexicon over five decades, becoming synonymous with the Colossus of Roads moniker. His “boxcar icon dispatches” served not only as personal narratives but as a collective memory for the transient souls that found solace in the freedom of the rails. Through his friendship and collaboration with Bill Daniel, a documentarian whose work “Who is Bozo Texino?” delves into the subculture of rail graffiti, Blurr’s legacy and the broader narrative of hobo moniker art have been meticulously archived and celebrated.
Colossus of Roads in S.F. Moniker, An Origin Story. Straat Museum Amsterdam. (photo courtesy of Straat Museum)
The exhibition at STRAAT invites audiences to traverse the evolution of this underground art form, from its hobo origins to its present-day incarnation within the global urban art scene. The exhibition showcases a selection of works that encapsulate the essence of the moniker movement, highlighting the original artworks and boxcar iconography that buZ Blurr authored and brandished. Visitors will encounter a diverse array of expressions, from the iconic Colossus of Roads to other seminal figures within the moniker tradition, each piece narrating a story of freedom, identity, and resistance.
In an era where some in the contemporary urban art scene gravitate towards commodification, this genesis story rekindles the foundational values of community, communication, and the unadulterated desire for expression that characterized the organic origins of this movement. STRAAT Museum reaffirms its commitment to celebrating the authentic and genuine voices that have shaped graffiti, street art, and urban art through this exhibition. This show is not just a historical recount but a vibrant testament to the enduring spirit of artists who have navigated the margins to inscribe their narratives on the city’s canvas – and across the country.
Colossus of Roads. Moniker, An Origin Story. Straat Museum Amsterdam. (photo courtesy of Straat Museum)
The exhibition opens its doors with a reception on Saturday, March 9, 2024, from 6-9 PM, inviting the public into a dialogue with the past and present. The exhibition will continue through Sunday, April 28, 2024, at STRAAT Museum. In its essence, one hopes it celebrates the indomitable human spirit’s quest for freedom, identity, and expression.
buZ blurr during a conversation with Brooklyn Street Art in 2019.
“These are a self-portrait as predicated on the first Bozo Texino person, and I kind of changed the image around,” says Mr. Blurr, a legendary figure in denim overalls, as he patiently describes his classic tag image of a railway cowboy.
“It is a writer motif – the pipe smoke is going up, and then it is trailing back to signify movement as the train goes down the track,” he says. “I worked in the train yards, and my job was as a brakeman. I had a little free time, so I started making drawings. I made my first one on November 11, 1971,” he says as he recalls a 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 – yet it may have perplexed other travelers.
“They came from a confused state. I was questioning everything. I was putting a 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.”
The full list of contributing artists includes:
2359, Alquimia Ferrocarrilera, Bill Daniel, Coaltrain, Colossus of Roads, Ed Haskel, Fat Owl, Flangesqueal, I’m Ugly, Khaze, The Kodak Kid, Lamps, Leroy Drown, Milktooth, Mr. Bass, NY Tomato, North Bank Fred, NOVA, POOH. The Rambler, Shrug, Smokin’ Joe, The Solo Artist, Stonewall Jim, Swampy, Take 5, Tex Goth, Wooden Axle, Bozo Texino, Conrail Twitty, Herby, Iowa Blackie, J.B. King Esq, Matokie Slaughter, Mud Up, Taurus, El Truncón, Water Bed Lou.
Moniker: An Origin Story is open to the public from Sunday, March 10th until Sunday, April 28th, 2024
Jaime Rojo has built an impressive collection of photographs of these, capturing the essence of New York’s streets through his lens with an array of box trucks that weave and jolt their way through traffic, often seen opening their gates to load and unload amidst the noise of city life. These trucks, adorned with cryptic and crazily painted graffiti, have become pivotal platforms for urban expression, succeeding subway cars as the canvas of choice after the MTA’s crackdown on trains. Rojo’s vast archive features hundreds, perhaps thousands, of these nomadic art pieces, transforming ordinary vehicles into a main showcase for artists’ narratives and tributes to urban royalty, with eclectic themes and styles that span all five boroughs.
These mobile galleries, nestled on private property and often commissioned by the owners, navigate a legal grey zone, untouched by state or city regulations. They offer a transient exhibition space, constantly in flux, moving across bridges, navigating the FDR, or idly sitting in traffic, right beside you. Each truck is a fleeting installation, a snapshot of the city’s dynamic art scene that you may know or not.
Back in the wild days of 2014, we published a small survey of the ubiquitous box trucks roaring through the streets of NYC. Most commonly used by movers helping residents move in or out of their homes, these trucks obviously serve a more lofty purpose. You can see HERE our article from 2014.
As we present a new installation of this collection once more, we delve into the latest series of box truck artworks that continue to serenade New York’s streets. This ever-evolving display captures the spirit of the city, revealing stories and visions that are as mobile as they are momentary, reflecting the vibrant, shifting nature of urban life through the eyes of famed photographer Jaime Rojo. Step outside and enjoy a moving art fest on the street just for you.
Is it even possible to take a personal inventory when it looks like the world around you is going off kilter? It’s worth a try. It may be the thing you depend on most in the future.
Here is our weekly interview with the street: this week featuring Pork, Sara Lynne Leo, Homesick, Clint Mario, Pear, Girlty, Georgia Violett, and Max Grax.
In Auckland, New Zealand, a new mural emerges from the city’s urban landscape, capturing one essence of New Zealand’s artistic evolution. “Anima,” a striking creation by Owen Dippie, a prominent New Zealand street artist, is a profound tribute to fellow artist Max Gimblett. Nestled in a rugged part of the city, this mural stands as a confluence of artistic expressions and shared histories, bridging the traditional with the contemporary.
Owen Dippie, acclaimed for his large-scale, photorealistic portraits, has many times showcased his exceptional skill in honoring iconic figures of the art world and community figures who have impacted people’s history. Selecting Max Gimblett as his subject, Dippie acknowledges Gimblett’s notable influence in art and himself. Both artists share a deep connection with New York, a city that has significantly shaped their artistic journeys despite their New Zealand origins.
The mural, a monochromatic portrayal of Gimblett, is encased within the quatrefoil shape, a signature element in Gimblett’s art. This shape, reminiscent of a four-leaf clover, carries deep symbolic meanings across different cultures and religions, from representing the four evangelists in Christianity to embodying symmetry and order in Islamic art.
In Gimblett’s artistic universe, probably influenced by his Rinzai Zen monk practices and spiritual quests, the quatrefoil symbolizes the harmonious amalgamation of Eastern and Western art philosophies. His work further accentuates this blend, often marrying Abstract Expressionism and Modernism with Asian calligraphy’s spiritual abstraction. Presented in collaboration with Gow Langsford Gallery, “Anima” can also be seen as a dialogue between Dippie’s and Gimblett’s artistic ideologies, known for challenging conventional art forms and blending tradition with innovation.
Max Gimblett’s journey from Auckland to the global stage is marked by his extensive travels, teaching experiences, and exhibitions worldwide. His artworks, characterized by masterful brushwork, a sophisticated color palette, and glossy surfaces enriched with gilding, reflect a diverse range of influences — from the alchemical mysteries and the Presbyterian Church of Scotland of his upbringing to the aesthetics of Japanese lacquerware and temple art. Gimblett’s unique artistic language is celebrated in significant museum collections globally, including the Guggenheim Museum, the Museum of Modern Art, and the Whitney Museum of American Art.
The nature’s gentle harmony is, probably, the best remedy for the speeding time of today. It stabilizes the ground beneath our martyred feet.
~ Mateusz Świątecki
Bartek Świątecki, aka Penner, has a style that is a confidently defined blend of bold colors, geometric shapes, and abstract forms harmoniously intertwined. It’s a graphical minimalism that speaks volumes, with straight lines and pure colors forming complex, geometrical clusters. This unique visual language demonstrates his mastery of blending traditional graffiti with modern abstraction and reflects a deep engagement with high art and youth culture. His murals and canvas works, often large-scale, are known for their dynamic and vibrant nature, inviting viewers into a world where street art and fine art converge.
Usually, you don’t see his canvasses in a field of cows.
This new book of photos documenting his newest painting project outside the country features Stare Kowkowo, a village in the administrative district of Gmina Jonkowo in northern Poland—23 kilometers northwest of the regional capital, Olsztyn. Stare Kawkowo is part of a region known for its picturesque landscapes and historical significance. In the graffiti and street art world since the mid-1990s, Świątecki has etched a significant voice on contemporary art, so why not bring contemporary art into the heart of his natural homeland?
Looking through the text-free pages of the artist in the wooded areas and rolling pastures, you understand that his painting is not just an expression but a dialogue between himself and the world. Perhaps it is an effort to transcend conventional boundaries and labels, offering a unique perspective on his artistic journey, a testament to the evolving relationship between different art forms and cultural expressions.
Like the anonymous work we find on the streets, he’s not offering interpretation.
The painters’ brother Mateusz Świątecki, in the foreword of the book, eloquently adds, “Bartek’s paintings keep vibrating, as the light vibrates under our eyelids, in their unbridled dance of endless creation: as a spasm of condensed matter just before being jetted into the oceans of entropy in the Big Bang.”
He further reflects, “Bartek never explains what he has meant, which is very good. We may embark on a journey to find meanings and impressions alone – with no luggage and totally free. And, perhaps, it is what those paintings are about.”
This sentiment captures the essence of Pener’s art – an invitation to explore and interpret freely, unhindered by narrative or analysis.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
