All posts tagged: James Finucane

“NUART Aberdeen” Announced for April, BSA is There With You

“NUART Aberdeen” Announced for April, BSA is There With You


NUART in Stavanger Norway has been distinguishing itself as a top-notch series of events showcasing Street Art and graffiti culture with full respect to its antecedents while spotlighting some talents and movements from the current scene who have made the path by walking.

Robert Montgomery (courtesy Nuart )

This April Nuart becomes mobile and shines from Aberdeen, Scotland with a line-up of International artists that will be announced this week to bring new voices to this pivotal port city where the Dee and Don rivers meet the North Sea.

BSA has closely followed Nuart for 9 years and presented, participated, documented, and interpreted the programming, street and gallery installations we’ve experienced for readers of Brooklyn Street Art and The Huffington Post and we’re happy to announce we’ll be in Aberdeen with you in April.

Herakut (courtesy Nuart )

The artist roster is looking stellar including these first three veterans of Nuart during its previous incarnations, Robert Montgomery, Herakut and Julien de Casabianca. Included in the events are some of the erudite Nuart Talks with keynotes and artist interviews and a new edition of Fight Night, as well as BSA in person for BSA FILM FRIDAY LIVE at the Belmont Cinema where we’ll also introduce movies to Aberdeen Street Art fans throughout the Easter weekend.

Julian Casbianca (courtesy Nuart )

We’re excited to see the reliably inventive, visonary and resourceful Nuart team, the installations of new works by some of your favorite Street Artists, and hopefully we’ll get to meet many BSA readers in Scotland this April! More on this on BSA Facebook and Twitter as details emerge.

For more info go to:




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James Finucane: Wishes & Hopes for 2017

James Finucane: Wishes & Hopes for 2017


As we near the new year we’ve asked a special guest every day to take a moment to reflect on 2016 and to tell us about one photograph that best captures the year for him or her. It’s an assortment of treats for you to enjoy and contemplate as we all reflect on the year that has passed and conjure our hopes and wishes for the new year to come. It’s our way of sharing the sweetness of the season and of saying ‘Thank You’ for inspiring us throughout the year.

Nuart Festival general manager (Daglig Leder) and the winning right-hand man of the cheerful troublemaker and visionary Martyn Reed, James Finucane has often firmly taken the reins on this Norwegian Urban Art festival to bring forward a remarkable cultural event for the last two years. The Stourbridge native was previously at London’s Serpentine Galleries as a researcher but his scope is vastly wider now and if you see the steel-nerved and unflappable James seeming to glide easily through the cloud of artists, volunteers, and installations in Stavanger, its because he has the patience of a saint – and a sharp eye. Today he shares with us a piece by an artist best known for his painting, prints, drawings, and animated films.

Triumph & Laments
Artist: William Kentridge
Location: Rome, Italy
Date: October 2016
Photograph by Giulia Carpignol

This project by South African artist William Kentridge was his first public art commission at the age of 61 and a project that took 12 years from concept to completion. Whilst it was inspiring to see the work of one of the world’s foremost painters on this scale, for me, it also represented a clarion call to Street Art organizers and advocates the world over.

If public space is the last frontier of Contemporary Art what does this mean for the Street Art movement? In particular, how do we retain the activist, bottom-up and community-based spirit of Street Art and its associated movements and continue to challenge the contemporary art establishment as they begin to flex their institutional muscles in public space ever more frequently?

Disrupting the hermetically sealed art world is at the core of Street Art and ever more important in an era of unprecedented public interest in visual culture.

An exciting thought for 2017!


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Nuart 2016: ‘Post Street-Art’ and Our Changing Terminologies

Nuart 2016: ‘Post Street-Art’ and Our Changing Terminologies

For a considerable time now at BSA we’ve been discussing with authors, artists, academics, writers, historians, political scientists, sociologists, criminologists the topics of Street Art, graffiti, Urban Art, public art, and the milieu. Often considered is whether a piece or action is  illegal, legal, activist, aesthetic, mark-making, territory-marking, interventionist. With few exceptions, there are often exceptions when it comes to labeling works and the artists who make them.


SPY. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

Perhaps with more emphasis than it merits, we regularly note that no point on our individual or societal timeline is static. The state of art and creative expression in the public sphere is one of continuous evolution along the continuum. From Villeglé and his ripping back of layers of street posters that revealed the colorful strata of public communications like a social scientist to Add Fuels’ surreal ripping back of the skin of buildings to reveal a decorative Trompe-l’œil Portuguese tiling, art of the streets has infinite through-lines that defy our ability to label them.

But we try.

Invariably, it pisses someone off. For the record, we’re okay with that.


Henrik Uldalen. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

“Street Art” the term has had a number of definitions in common usage since at least the 1970s (probably earlier) that include things like handcrafts, jewelry, even the current ballyhoo, the mural. Today, because we’re all so much more enlightened and street-wise, we are convinced that no credible scholar of academia or the street would include a mural in the definition of Street Art, which must be illegal and (most likely) installed on-the-fly.

Recently Raphael Schacter made a claim to renaming a family of practices that moves beyond the confused state of labeling we are in to something with more clarity called “Intermural Art”. He says with his signature humor and cadence that “Street Art is a Period. Period.” – and that very soon, if not already, we are moving beyond that period.


Jeff Gillette and Jaune collaboration. Pictured here is Jaune at work. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)

Aside from the association that “intermural” has with both murals and with boys and girls playing dodge-ball in the school gymnasium (sorry that’s intramural), it somehow doesn’t capture a post Street Art period that is expanding to include so many practices and practitioners that it is altering things its path. But we get the point. Wait, did we just say “post Street Art”?

That’s what Martyn Reed at Nuart would like us to consider as a term that describes what he is illustrating with the curated installations this year for the festival in Norway. With a number of leaders of thought and letters doing some heavy lifting of street art antecedence and corollaries (and beer steins) at this annual festival over the last few years, it is with some careful consideration that he chooses his artists, and his terminology.


Jeff Gillette . Jaune NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)

According to the show description ‘Post-Street Art’, an inside exhibition that opened last Saturday and continues through October 16, is an expression that “has been adopted to describe artworks, artists and events that are “informed by” and “aware of” the strategies, forms and themes explored by Street Art but which couldn’t rightly be regarded as ‘Street Art’ or ‘Street Artists’ per se. The term could also be used to describe a new breed of studio practice-based street artist, whose interest in and knowledge of the contemporary art world often far supplants that of an engagement with the street.”

Yes and yes. Additionally, we have heard this studio-originated practice that is informed by street practice described as Urban Contemporary or more simply Urban Art. You may also wonder how the label intersects with Post Modern and Post-Graffiti, if at all. We will not turn over these little monsters to look at their stomachs just now. Instead, let’s see these new exclusive photos from Ian Cox and Tor Ståle Moen of some of the new installations at ‘Post-Street Art’ at Nuart 2016.

Participating artists include: Add Fuel (PT), Axel Void (ES), Eron (IT), Evol (DE), Fintan Magee (AU), Henrik Uldalen (NO), Hyuro (AR), Jaune (BE), Jeff Gillette (US), KennardPhillipps (UK), MTO (FR), Nipper (NO), Robert Montgomery (UK) and SpY (ES)


Robert Montgomery. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)


Robert Montgomery. Process shot. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)


Evol and Add Fuel collaboration. Process shot. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)


Evol . Add Fuel. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)


Fintan Magee. Process shot. NUART 2016. Stavanger, Norway. September 2016. (photo © Ian Cox)


Fintan Magee. NUART 2016. Stavanger, Norway. September 2016. (photo © Tor Ståle Moen)


Nipper. NUART 2016. Stavanger, Norway. September 2016. (photo © James Finucane)


Nipper. NUART 2016. Stavanger, Norway. September 2016. (photo © James Finucane)


11 September – 16 October 2016
Opening hours: Wed – Fri 12:00 – 17:00 / Sat – Sun 11:00 – 16:00
Tou Scene Beer Halls, Kvitsøygata 25, 4014 Stavanger


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