All posts tagged: Jeffrey Dietch

BSA Galavanting, The New Year and You

BSA Galavanting, The New Year and You

BSA galavanted through the streets last year and here we re-paste our recent newsletter to BSA readers. Sign up for it if you like. Here’s the original.

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Happy New Year from BSA!

From Berlin to Norway to Rochester and Mexico, Faile to Swoon to Ron English to Dan Witz and Gilf!, BSA was in museums, galleries, artists studios, at festivals, on panel discussions, on stages, on TV, radio, in theaters, and of course in the street.

Here are some highlights of the some of the amazing things BSA did with you in 2015. We sincerely thank you for your support and send love to you and yours in the new year!

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In ’15 BSA Created “Persons of Interest” with UN in Berlin
Brought 12 Brooklyn Street Artists to Berlin with “Persons of Interest” show for Urban Nation Museum (UN)/ProjectM7

Reviews in:
Juxtapoz, VNA, Hi-Fructose, Huffington Post, Butterfly

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The (almost) complete “Persons of Interest” crew courtesy ©Sandra Butterfly

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BSA Presented “On the Radar” in Coney Island
With Jeffrey Dietch’s Coney Art Walls program at Coney Island Museum for Coney Art Walls, we presented 12 artist to watch who are on our radar.

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BSA Presented Faile at the Brooklyn Museum
A beautiful experience to be a part of the FAILE exhibition from its earliest planning stages to its full summer run at Brooklyn Museum, the cherry on top was to host an in-depth presentation and conversation with Faile’s Patrick Miller and Patrick McNeil and BKM curator Sharon Matt Atkins in front of an enthusiastic Brooklyn audience.

Aside from The Pope landing in New York at the exact time people were traveling to the show and some microphone difficulties at the beginning of the show, it was a complete and total thrill for us. See the full video on LiveStream here.

What Happened with BSA + FAILE at the Brooklyn Museum?

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Steven P. Harrington, Patrick Miller of Faile (top), Sharon Matt Atkins, Patrick McNeil, and Jaime Rojo (image © by and courtesy of The Dusty Rebel) (@DustyRebel on Instagram)

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BSA Joined Swoon to Inaugurate Her New Heliotrope Foundation
The tenacious and visionary Street Artist grounded her dreams in a formal foundation in 2015, allowing her to pursue even greater reach in her growing projects in New Orleans, Haiti, and Braddock, PA. We were honored to interview her and to help celebrate the official beginning of The Heliotrope Foundation with the help of special guest and board member Kaseem Dean aka Swizz Beatz.

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Callie Curry (aka Swoon), Kasseem Dean (aka Swizz Beatz), Jaime Rojo, Steven P. Harrington inaugurate The Heliotrope Foundation

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photo ©Daniel Feral

BSA Hosted Martha Cooper, Bortusk Leer, and Herman De Hoop at Nuart Plus
For presentations from each of the guests and panel discussion on the intersection of “Play” and public space at NUART 2015 in Stavanger, Norway.

Read our published essay for the academic conference at Nuart: “TECHNOLOGY, FESTIVALS AND MURALS AS NUART TURNS 15

NUART 2015 Roundup: A Laboratory on the Street

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Jaime Rojo, Harmen De Hoop, Martha Cooper, Bortusk Leer, Steven P. Harrington at Nuart Plus (©MZM Projects)

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Banksy Does New York Took Us to Theaters Around the World
Good News: The movie got on NetFlix, iTunes, in festivals, and in theaters in cities around the globe
Bad News: People think we have a museum

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We Flew Over World’s Largest Mural
Flew by helicopter above the world’s largest mural by Ella and Pitr in Stavanger, Norway with two of our most admired photographers; Martha Cooper and Ian Cox. Thanks Nuart!

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Ella & Pitr © Jaime Rojo

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Ian Cox, Martha Cooper, Jaime Rojo getting ready to fly over Ella & Pitr in Norway (photo selfie ©Ian Cox)

We presented BSA Film Friday Live at MAG Gallery
Under the direction of Jonathan Binstock at University of Rochester Museum the MAG Gallery hosted us during the Wall\Therapy festival.

This is the grassroots sort of festival that rings true to us these days and the down-to-earth volunteers and organizers of this event, along with those of our associates at Urban Nation (UN), made this a highlight of the summer.

WALL\THERAPY 2015 : Surrealism and The Fantastic

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Steven P. Harrington at MAG Gallery for Wall\Therapy (photo ©Jason Wilder)

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BSA moderated 1st panel for 1st event of 1st edition of LoMan Festival
“OMG Is this Street Art?” was the name of our panel with guest panelists Ron English, Gilf!, Dan Witz, and Jonathan Levine.

LoMan Art Festival Launches Its First Blast in NYC

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Ron English, Ann J Lewis, Dan Witz, Jonathan LeVine, and Steven P. Harrington for first LoMan festival event in August (photo ©Rodrigo Valles‎).

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BSA in Berlin Radio Interview with Vantage Point
We talked about Jay-Z, Bowie, Bushwick, the democratization of Street Art, cultural imperialism, the UN and what it is like to bust out a blog seven days a week and still keep your mind and heart open to discovery.
Listen to it here on Vantage Point and Soundcloud:

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BSA completed its fifth year in partnership with The Huffington Post in June 2015 (225+ articles) and was translated in Spanish on El Huffington Post, in French on Le Huffington Post, in Italian on L’Huffington Post, in Korean on Huff Post Korea, in Portuguese on Brasil Post, and in Greek for Huffington Post Greece.
BSA posted every single day and did 23 interviews and studio visits and published articles about street art in 103 cities
BSA was reference or appeared in the media in The New York Times, The Today Show, Le Monde, Agence France Press, German Rbb Tv, Borås Tidning, El Diario, El Heraldo, ArtNet News, Juxtapoz, VNA, Hi-Fructose, and others.
BSA’s Director of Photography Jaime Rojo took more than 10,000 images and we picked 143 as BSA 2015 Images of the Year.
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Special thank you to photographer Martha Cooper and Nuart Festival director Martyn Reed for the banner image from this years festival.

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Interview With Pedro Alonzo, Street Art and Gen Net go to the Museum

Interview With Pedro Alonzo, Street Art and Gen Net go to the Museum

As art institutions gear themselves continually to remain (or become) relevant to Gen Net patrons, all manner of incarnations will likely continue to parade before you. Yes, Picasso still draws a crowd but in the last decade, as Boomers began retiring and their media-drenched progeny grew more distracted by one million apps of eye candy, even blue chip and gray ladies of the art world started hosting DJ’s, indie bands, and endless jazz cocktails to get the booties in the house and the eyeballs off the little blue screens, if only for a second.

The size and span of the opening night crowd at Viva La Revolucion at MOCASD was a clear indicator of a much wider interest in Street Art as contemporary art than has been seen in US. (photo © Geoff Hargadon)

The size of the opening night crowd as well as it’s relative youth at Viva La Revolución at MCASD was a clear indicator of a much wider interest in Street Art as contemporary art than has been seen before in the US. (photo © Geoff Hargadon)

One way to make sure you are grabbing the attention of Millenials is to embrace that which they have already identified as culturally important and begin to make sense of it as it evolves.  Pedro Alonzo, guest curator of Viva La Revolución at the Museum of Contemporary Art San Diego (running until January 2) understands that a wide embrace of an evolving movement is important right now until the field winnows itself. More importantly, he recognizes that “high-minded” culturally no longer requires the confines of a museum and, along with associate curator Lucía Sanromán, he leaves the door ajar to acknowledge the continuum between street and museum in this largest exhibition of the modern global Street Art movement yet in the US.

Curator Pedro Alonzo show's Jeffrey Dietch the indoor exhibition of the newly opened show. (© Geoff Hargadon)

Curator Pedro Alonzo shows Jeffrey Deitch the indoor exhibition of the newly opened show. (© Geoff Hargadon)

The truth is that buck-wild artists have been making the streets a gallery in earnest for a little while now, preferring to take the more direct route to admirers and detractors alike. Billed as “a Dialogue With the Urban Landscape”, Viva goes beyond the initial infatuation with graffiti and so-called “Urban” art that institutional interests expressed in 1980s and 1990s. For some reason that new-found love eventually turned tepid and measured in the embrace.  Maybe that’s why nervous nellies in academia shuddered when the New York impresario, art dealer and gallerist Jeffrey Deitch, a champion of selected Street Artists among other vocations, was named director of Los Angeles Museum of Contemporary Art this year. Indeed a revolution of some sort is afoot.

Art collective Date Farmers followed the newly typical route to the gallery and museum by collectively showing and hosting their own shows until someone recognized the work. (photo © Geoff Hargadon)

Mexican-American artists Date Farmers combine pop, folk, and political in this charged raw screed. (photo © Geoff Hargadon)

Admittedly museums must be followers as well as leaders (Guggenheim/YouTube anyone?) and the grassroots nature of this new surge of Street Artists circumvents the structures and curatorial practices of the established gallery and museum world. It also cuts across race, class and socioeconomic lines and maybe that’s part of the slow uptake. But like so many aspects of our current era, the foundations are melting before our eyes.  When you consider the democratizing force of internet/social networking communications and the fact that many of these artists come with a built-in fanbase as a result, it is a no-brainer that major and minor institutions are taking a fresh look at the new Street Art scene.

French Street Artist JR and his assistan Youssef doing a bit of Skyping before the show (© Geoff Hargadon)

French Street Artist JR and his assistant Youssef doing a bit of Skyping before the show (© Geoff Hargadon)

That said, Viva La Revolución is a bold undertaking that presents some of the biggest names on the scene right now and a variety of them. Under Mr. Alonzo’s guidance and audacity, it also thoroughly involves the street in the exhibition, making the city of San Diego quite literally part of the show. To pull this off and keep the respect of the artists intact is an accomplishment itself. By all accounts, he has. Having curated shows successfully including iconic street artists like Faile and last year’s Supply and Demand show by Shepard Fairey at ICA in Boston, Alonzo has easily established a rapport with a scene that is rapidly evolving.

Brooklyn Street Art: How has the response since the show opened?
Pedro Alonzo:
The response has been great. The museum has had tons of calls about the exhibit and many visitors. The age of the average visitor also appears to have dropped. We are getting a younger crowd.

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Spencer Elden, (with Shepard Fairey’s crew and famous for a nude photo in your CD collection) and Ben Logan, a volunteer who flew out from Boston to help set up the show. (photo © Geoff Hargadon)

BSA: You have a number of installations all around the city.  Was it easier to work with private owners rather than the city to secure building walls?
Pedro Alonzo:
Although there have been people who work for the city who have been very supportive and instrumental in securing walls, all of the walls we used are privately owned. It was way too complicated and bureaucratic to secure city or state owned walls.

Brazillian twins Os Gemeos in front of two of their pieces (photo © Geoff Hargadon)

Brazillian Street Artists Os Gemeos in front of two of their pieces (photo © Geoff Hargadon)

BSA: Can you talk about the name “Viva la Revolución” and it’s significance to you historically?
Pedro Alonzo: The title of the exhibition is significant on many levels, from the fact that this year marks the 100th anniversary of Mexico’s revolution to the street in Tijuana, “Avenida Revolucion” where many under age southern Californians, like myself back in high school, spent the weekends drinking and dancing. The title also refers to street art’s defiant posture towards the arts establishment in being an art that is populist, intended to be understood by most people, not just the art world elites, as well as being a form of expression that references popular and/or urban culture. This show is about an artistic revolution, art that appeals to a wider audience.

Dzine (© Geoff Hargadon)

Calma on the ladder doing last minute touch ups. (© Geoff Hargadon)

BSA: Experts, particularly the jaded ones, have been forecasting the death of Street Art periodically for years, yet we feel like New York has an ongoing explosion of it. Do you feel like street art is experiencing a revolution?
Pedro Alonzo:
There are those who have stated that painting is dead and they were wrong. From my perspective, street art is finally being looked at by the art world. If anything the hoards of people who want to see street art are a clear indication of the vibrancy of the genre.Shepard Fairey entertaining the guests at the opening (© Geoff Hargadon)

Shepard Fairey entertaining the guests at the opening (© Geoff Hargadon)

BSA: Can you talk about the street artist you have from Mexico?  Is there a Street Art movement south of the border?
Pedro Alonzo:
There is definitely street art in Mexico. Stenciling and graffiti are visible in many cities. The most vibrant examples I have seen are in Oaxaca, where the art often responds to social and political issues.

Mexican tattoo and street artist Dr. Lakra is a blur (© Geoff Hargadon)

Mexican tattoo and street artist Dr. Lakra is a blur (© Geoff Hargadon)

BSA: What has been the most surprising part of this experience for you?
Pedro Alonzo: More than surprised, I am amazed at how quickly these artists work and adapt to the environment. Both inside the museum and on the street, the artists created amazing works for the exhibition in a very short period of time. Some of them even had time to go to the beach. We had a lot of fun. I am very proud and grateful to all of the artists for their hard work and stunning achievements. The city is responding accordingly.

In fact, the biggest surprise about the show was the response from many San Diegans of sincere gratitude at having this type of exhibition in their city. Some loved the fact that they did not have to drive to LA or fly to NYC to see it. Others felt that their interest in art was finally being acknowledged. It is a wonderful experience to have this kind of feedback in my home town.

Pedro Alonzo and Lucía Sanromán at the opening (© Geoff Hargadon)

Lucía Sanromán and Pedro Alonzo at the opening of Viva (© Geoff Hargadon)

Learn more about the exhibition HERE.

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