All posts tagged: JPS

BSA Images Of The Week: 03.24.19

BSA Images Of The Week: 03.24.19

Springtime in New York! Crocuses, tulips, fire extinguisher tags! Ahh the joy of life! Happy Purim to the Jewish neighbors. Saal-e-no mobaarak (سال نو مبارک) Happy New Year to the Iranian neighbors. Yes, this is New York, where we disprove the notion that we can’t all get along. Every dang day. We also sing together on the train when its stuck.

So here’s our weekly interview with the street, this time featuring Ardif, BustArt, Clipper, CNO PCU, Drinkala, JPS, Mattewythe, Nanos, Nubian, Pork, Rock, George Standpipe, and The Postman Art.

As the banner says…unidentified artist. (photo © Jaime Rojo)
Pray…for Pork (photo © Jaime Rojo)
Three tacos con Pork por favor…(photo © Jaime Rojo)
Mattewhyte (photo © Jaime Rojo)
Standpipe (photo © Jaime Rojo)
ARDIF (photo © Jaime Rojo)
Tank, gas pump. What’s the connection? Unidentified artist (photo © Jaime Rojo)
Rock in Bilbao (photo © Jaime Rojo)
Drinkala for 212 Arts. (photo © Jaime Rojo)
Clipper . Nanos in Bilbao. (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
Bustart (photo © Jaime Rojo)
CNO PCU (photo © Jaime Rojo)
Word! (photo © Jaime Rojo)
Nubian (photo © Jaime Rojo)
JPS apparently was in NYC again. (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
“Personality, I mean that’s what counts, right? That’s what keeps a relationship going through the years. Like heroin, I mean heroin’s got a great fucking personality.” The Postman Art (photo © Jaime Rojo)
The end (photo © Jaime Rojo)
Untitled. Bilbao, Spain. March 2019. (photo © Jaime Rojo)
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BSA Images Of The Week: 06.03.18

BSA Images Of The Week: 06.03.18


The Bushwick Collective street party was so crowded with people and artists it felt like an open air gallery of sights and sounds. Don’t mess with BK yo when it comes to bringing it on. Roiling, boiling, thumping, bumping and yes, humping was happening in Bushwick. We even took a Street Art tour since there appears to be one every two blocks right now – and we learned a number of new things too.

Meanwhile, the new murals and independent organic unauthorized pieces are popping like your eyes watching a Nicki Minaj video. Oh no she didn’t. Oh yes, she did!

Here’s our weekly interview with the streets, this week featuring Alabania, Android Oi, Antennae, Bebar, Below Key, Bifido, Celia Jacobs, City Kitty, Dee Dee, Gitler, Gondek, Himbad, Invader, Jacinta, JPS, Muck Rock, Quizi, Street Art Council, Tirana, and Who is Dirk?

Top Image: JPS please stand up in the LES. (photo © Jaime Rojo)

Night time shenanigans with Shady, Spidey and Gotti.” JPS (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

Street Art Council (photo © Jaime Rojo)

Dee Dee (photo © Jaime Rojo)

Gitler for Audubon Mural Project. (photo © Jaime Rojo)

Ouizi for Audubon Mural Project. (photo © Jaime Rojo)

Jacinta. Detail. Audubon Mural Project. (photo © Jaime Rojo)

Jacinta. Audubon Mural Project. (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

City Kitty (photo © Jaime Rojo)

Below Key (photo © Jaime Rojo)

Invader (photo © Jaime Rojo)

Antennae (photo © Jaime Rojo)

Himbad (photo © Jaime Rojo)

Himbad (photo © Jaime Rojo)

Muck Rock…spring here… (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

Gondek (photo © Jaime Rojo)

Gondek (photo © Jaime Rojo)

Celia Jacobs (photo © Jaime Rojo)

Android Oi (photo © Jaime Rojo)

Bebar (photo © Jaime Rojo)

“Violence sings a coward’s song to which only the weak are drawn..” Who Is Dirk (photo © Jaime Rojo)

Bifido. Tirana, Albania. (photo © Bifido)

Bifido created this new work in Albania for the Tirana Mural Fest, entitled “Girls Just Wanna Have Fun.”
He explains:
“This work should have been called “self portrait”, as it express how I’m feeling in this moment at the sight of the world. Working, talking, scoping, and breathing Tirana’s atmosphere I really realized for the very first time how it feels to be a woman caught in the grips of this male chauvinist society, to be a woman physically and mentally oppressed by men. As the work progressed, the sense of it changed and revealed itself to me. Now that I am back home in Italy, I’m more aware of something that makes me feel heartbroken. I’m hoping one day something will change.”

Untitled. Manhattan, NYC. Spring 2018. (photo © Jaime Rojo)

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BSA Images Of The Week: 04.29.18

BSA Images Of The Week: 04.29.18


Mexico, Norway, Brooklyn – a typical week of BSA Images.

Here’s our weekly interview with the streets, this week featuring Abraham Chaco, BustArt, Cost, Curve, El Xupet Negre, Gee Whiskers, JMZ, JPS, Juce, Raf Urban, The Reading Ninja, and Turtle Caps.

Top Image: Christina pays homage to the Mexican master and social realist painter David Alfaro Siqueiros in Chihuahua, Mexico. (photo © Jaime Rojo)

Abraham Chacon. Detail. Chihuahua, Mexico. (photo © Jaime Rojo)

Abraham Chacon. Chihuahua, Mexico. (photo © Jaime Rojo)

Unidentified artist paints a stencil of Pancho Villa in Chihuahua, Mexico. (photo © Jaime Rojo)

Unidentified artist. Chihuahua, Mexico. (photo © Jaime Rojo)

JPS makes an arrest in Stavanger, Norway. (photo © Tor Staale Moen )

Raf Urban (photo © Jaime Rojo)

Turtle Caps for JMZ Walls. (photo © Jaime Rojo)

The Reading Ninja (photo © Jaime Rojo)

The Reading Ninja (photo © Jaime Rojo)

Street Art Anarchy (photo © Jaime Rojo)

Truckers caps are still running in trendy cat circles apparently. Gee Whiskers (photo © Jaime Rojo)

Curve (photo © Jaime Rojo)

COST (photo © Jaime Rojo)

Juce (photo © Jaime Rojo)

El Xupet Negre for The Bushwick Collective. (photo © Jaime Rojo)

Unidentified Artist (photo © Jaime Rojo)



Untitled. The lady in red. Manhattan. April 2018. (photo © Jaime Rojo)


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BSA Images Of The Week: 02.28.16

BSA Images Of The Week: 02.28.16



This simple lollipop paste-up reminds us this week that it may appear to be sweet, but sometimes it is poison. Guess that truism should be obvious to you kids, but it doesn’t hurt to remind each other.

Here’s our our weekly interview with the street, this week featuring ECB, Escif, JPS, Kai, London Kaye, Lunge Box, Mogul, Nick Walker, Omen,, The J0n, and Shai Dahan.

Our top image: A questionable lollipop on the street. Lunge Box. Detail. (photo © Jaime Rojo)


Lunge Box. (photo © Jaime Rojo)


TREF in Stavanger, Norway. (photo © Jaime Rojo)


The J0n in Stavanger, Norway. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


The J0n in Stavanger, Norway. (photo © Jaime Rojo)


ECB in Borås, Sweden for No Limit Art Festival. (photo © Jaime Rojo)


Omen in Rochester, NY for Wall Therapy Art Festival. (photo © Jaime Rojo)


Kai (photo © Jaime Rojo)


Shai Dahan in Borås, Sweden for No Limit Art Festival. (photo © Jaime Rojo)


Nick Walker in Stavanger, Norway for Nuart Art Festival. (photo © Jaime Rojo)


Escif in Stavanger, Norway for Nuart Art Festival. (photo © Jaime Rojo)


Mogul in Borås, Sweden for No Limit Art Festival. (photo © Jaime Rojo)


A belatedly found piece by Londo Kaye. There’s is never too late for love though… (photo © Jaime Rojo)



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Valentines From BSA

Valentines From BSA

Freezing cold on the streets today, warm hearts nonetheless. We thank BSA readers for all of your love and send it back to you today and every day.


JPS (photo © Jaime Rojo)


Love Spray (photo © Jaime Rojo)


Duke A. Barnstable (photo © Jaime Rojo)


Duke A. Barnstable (photo © Jaime Rojo)


Duke A. Barnstable (photo © Jaime Rojo)


Duke A. Barnstable (photo © Jaime Rojo)


Ella & Pitr (photo © Jaime Rojo)


ROCKO (photo © Jaime Rojo)


Hek Tad (photo © Jaime Rojo)


Nick Walker (photo © Jaime Rojo)


Nick Walker (photo © Jaime Rojo)


People all over the world (everybody)
Join hands (join)
Start a love train, love train
People all over the world (all the world, now)
Join hands (love ride)
Start a love train (love ride), love train

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Boo! Halloween Street Art from Your Ghoulish Friends at BSA

Boo! Halloween Street Art from Your Ghoulish Friends at BSA

Happy Halloween everybody! It’s a scary time on the streets and artists are always giving us disturbing and comical reasons to be frightened – it’s like we need some catharsis to help us process personal and world events. Whether it is Freddy Krueger or just a classic old bobbing skull, the specter of our fears and fantasies is alive and well just around the corner.


JPS in Stavanger (or should we say Stabbinger?), Norway. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


EDMX is catching death with this skinny skater dude (photo © Jaime Rojo)


Steiner sees you (photo © Jaime Rojo)


Steiner (photo © Jaime Rojo)


Artist Unknown (photo © Jaime Rojo)


Candy (photo © Jaime Rojo)


Artist Unknown (photo © Jaime Rojo)


Dan Witz scares the bejesus out of passersby in Stavanger, Norway. (photo © Jaime Rojo)


Dan Witz in Stavanger, Norway. (photo © Jaime Rojo)


Isaac Cordal and one of his scary corporate death men in Boras, Sweeden. (photo © Jaime Rojo)


Ollio in Sweeden. (photo © Jaime Rojo)


A tribute on the street to Jack Nicholson from The Shining. (photo © Jaime Rojo)


TAK (photo © Jaime Rojo)


Artist Unknown (photo © Jaime Rojo)


Left Handed Wave (photo © Jaime Rojo)


Norm Kirby (photo © Jaime Rojo)


Pyramid Oracle (photo © Jaime Rojo)


Times Square. Midnight Moment. photo © Jaime Rojo

Please note: All content including images and text are ©, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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BSA Images Of The Week: 09.13.15

BSA Images Of The Week: 09.13.15



This Sunday’s Images Of The Week seems to have an overriding theme which wasn’t really planned. It just happened.

A preponderance of stencils, many of them miniature and most placed without permission are here for your consideration. Some of the pieces have been on the walls for years while others are fairly new. After a few days admiring large murals in Norway and Sweden, these little missives are sweet.

Futura also came back to New York from Norway just in time to hit the hallowed Houston Wall yesterday and Martha Cooper is hanging there as well, so you will want to check that out! Martha and John Ahearn just opened  their new dual show Thursday called “Kids” at Dorian Gray on the LES, which we thought was dope.

Also in town are Ernest Zacharevic, who will be working on a special project, David Walker has been seen poking his head into things, and Vermibus is popping up here and there on bus shelters with his dissolved portraits. A number of artists and fans are in NYC for the Brotherhood show at Jonathan Levine curated by Yasha Young, and of course Shepard Fairey has his first New York show in five years coming up this week with all new work on exhibition at Jacob Lewis Gallery called “On Our Hands”. As in blood, yo.

Here’s our weekly interview with the street, this week featuring APosse, Dolk, DotDotDot, Dotmasters, Ella & Pitr, Hama Woods, Isaac Cordal, JPS, MIR, Nafir, the Outings Project, Strok, Martin Whatson and TREF.

Top image above >>> Strok in Stavanger, Norway. (photo © Jaime Rojo)


Dotmasters in Stavanger, Norway. (photo © Jaime Rojo)


Outings Project in Stavanger, Norway for NUART 2015. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


JPS in Stavanger, Norway. (photo © Jaime Rojo)


TREF in Stavanger, Norway. (photo © Jaime Rojo)


Isaac Cordal in Stavanger, Norway for NUART 2015. (photo © Jaime Rojo)


Isaac Cordal in Stavanger, Norway for NUART 2015. (photo © Jaime Rojo)


APOSSE in Stavanger, Norway. (photo © Jaime Rojo)


Artist Unknown in Stavanger, Norway. (photo © Jaime Rojo)


Looks like a rather explosive romance. DOLK in Stavanger, Norway. (photo © Jaime Rojo)


Ella & Pitr in Stavanger, Norway. (photo © Jaime Rojo)


Ella & Pitr in Stavanger, Norway. (photo © Jaime Rojo)


MIR* in Stavanger, Norway. (photo © Jaime Rojo)


NAFIR in Stavanger, Norway for NUART 2015. (photo © Jaime Rojo)


Hama Woods welcomes all the rats to the big show in Stavanger, Norway. (photo © Jaime Rojo)


Martin Whatson in Stavanger, Norway. (photo © Jaime Rojo)


Dotdotdot in Stavanger, Norway. (photo © Jaime Rojo)


Untitled. L Train, NYC. August 2015. (photo © Jaime Rojo)

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Technology, Festivals, and Murals: 15 Years on the Street Art Scene

Technology, Festivals, and Murals: 15 Years on the Street Art Scene

It’s good to be asked to write an essay once in a while as it makes us take a step back and more fully examine a topic and appreciate it. On the occasion of Nuart’s 15th anniversary and it’s accompanying print publication last week Martyn Reed asked us to look at the street art / urban art / graffiti scene and to give an analysis about how it has changed in the time that the festival has been running. The essay is a long one, so grab a cup of joe and we hope you enjoy. Included are a number of images in and around Stavanger from Jaime Rojo, not all of them part of the festival, including legal and illegal work.

Technology, Festivals, and Murals as Nuart Turns 15

Steven P. Harrington and Jaime Rojo

Nuart is turning 15 this year and like most brilliant teenagers it is alternately asking you challenging questions, finding you somewhat uncool, or is on your tablet ordering a new skateboard with your credit card. Nuart started with mainly music and is now mainly murals; an internationally well-regarded venue for thoughtfully curated urban art programs and erudite academic examination – with an undercurrent of troublemaking at all times. Today Nuart can be relied upon to initiate new conversations that you weren’t expecting and set a standard for thoughtful analysis of Street Art and its discontents.


Pøbel (photo © Jaime Rojo)

We are in the thick of it, as it were, this great expansion of a first global grassroots people’s art movement. Give it any title you like, the flood of art in the streets that knocks on BSA’s door daily is unabated. We admit that we often get caught up in the moment and forget to study our forebears, Street Art’s progenitors and contributors – and that we sometimes are unable to appreciate the significance of this incredible time. So we are happy when the Nuart team asked us to take a long view of the last fifteen years and to tell them what we see.

As we mark Nuart’s milestone, we see three important developments on the Street Art scene while it evolves: Technology, Festivals, and Murals.

And just before we discuss these three developments in Street Art we emphasize what has stayed the same; our own sense of wonder and thrill at the creative spirit, however it is expressed; we marvel to see how it can seize someone and flow amidst their innermost, take hold of them, convulse through them, rip them apart and occasionally make them whole.

What has changed is that the practice and acceptance of Street Art, the collecting of the work, it’s move into contemporary art, have each evolved our perceptions of this free-range autonomous descendant of the graffiti practice that took hold of imaginations in the 2000s. At the least it hasn’t stopped gaining converts. At this arbitrary precipice on the timeline we look back and forward to identify three impactful themes that drive what we are seeing today and that will continue to evolve our experience with this shape-shifting public art practice.



Ben Eine (photo © Jaime Rojo)


Hands down, a primary genesis for the far flung modern embrace of Street Art/Urban Art/Graffiti/public art lies in the booster rocket that propelled it into nearly everyone’s hands; digital communication and all its sundry technologies. From the early Internet websites and chat rooms accessed from your desktop to digital cameras and photo sharing platforms like Flickr in the early-mid 2000s to ever more sophisticated search technology and its accompanying algorithms, to blogs, micro blogs, and social media platforms, to the first generations of laptops and tablets, iPhones and Android devices; the amazing and democratizing advance of these communicative technologies have allowed more of us to access and share images, videos, experiences and opinion on a scale never before imagined – entirely altering the practice of art in the streets.

Where once there had been insular localized clans of aerosol graffiti writers who followed arcane codes of behavior and physical territoriality known primarily to only them in cities around the world, now new tribes coalesced around hubs of digital image sharing, enabling new shared experiences, sets of rules, and hierarchies of influence – while completely dissolving others.



Tilt (photo © Jaime Rojo)

As old guards re-invented a place for themselves or disappeared altogether, a new order was being remixed in front our eyes. There were a lot of strangers in the room – but somehow we got used to it. Rather than making street art pieces for your local peers, artists began making new compositions for somebody’s phone screen in London or Honolulu or Shanghai.

Cut free from soil and social station, now garden variety hoodlums and brilliant aesthetes were commingling with opportuning art collectors, curious gallerists, unctuous opinionators, punctilious photographers and fans… along with product makers, promoters, art-school students, trend watchers, brand managers, lifestyle marketers, criminologists, sociologists, journalists, muckrakers, academics, philosophers, housewives, and makers of public policy. By virtue of climbing onto the Net everyone was caught in it, now experiencing the great leveling forces of early era digital communications that decimated old systems of privilege and gate keeping or demarcations of geography.

Looking forward we are about to be shaken again by technology that makes life even weirder in the Internet of Everything. Drone cams capture art and create art, body cams will surveil our activity and interactions, and augmented reality is merging with GPS location mapping. You may expect new forms of anonymous art bombing done from your basement, guerilla image projecting, electronic sign jamming, and perhaps you’ll be attending virtual reality tours of street art with 30 other people who are also sitting on their couches with Oculus Rifts on. Just watch.


Swoon and David Choe (photo © Jaime Rojo)


Thanks to the success of festivals like Nuart, myriad imitators and approximaters have mushroomed in cities everywhere. Conceived of philosophically as a series of stages for the exhibition of artistic chops with the proviso that a cultural dialogue is enriched and moved forward, not all festivals reach those goals.

In fact, we have no reason to expect that there is one set of goals whatsoever and the results are predictably variable; ranging from focused, coherent and resonant contributions to a city to dispersed, unmanageable parades of muddy mediocrity slammed with corporate logos and problematic patronage.


MCity (photo © Jaime Rojo)

Some festivals are truly grassroots and managed by volunteers like Living Walls in Atlanta or MAUI in Fanzara, Spain. Others are privately funded by real estate interests like Miami’s Wynwood Walls or business improvement district initiatives like the L.I.S.A. Project and LoMan Festival in Manhattan, or are the vision of one man who has an interest in Street Artists, like the now-discontinued FAME festival in the small town of Grottaglie, Italy and the 140 artist takeover of a town in Tunisia called Djerbahood that is organized by an art dealer.

In some ways these examples are supplanting the work of public art committees and city planners who historically determined what kind of art would be beneficial to community and a public space. Detractors advance an opinion that festivals and personal initiatives like this are clever ways of circumventing the vox populi or that they are the deliberate/ accidental tools of gentrification.

We’ve written previously about the charges of cultural imperialism that these festivals sometimes bring as well where a presumed gratitude for new works by international painting superstars actually devolves into charges of hubris and disconnection with the local population who will live with the artwork for months and years after the artist catches a plane home.


Dotmasters (photo © Jaime Rojo)

Nonetheless, far from Street Arts transgressive and vandalous roots, the sheer number of Street Art/Urban Art/Mural Art festivals that have popped up – either freestanding or as adjuncts to multi-discipline “arts” festivals – is having the effect of creating a wider dialogue for art in the public sphere.

As artists are invited and hosted and scissor lifts are rented and art-making materials are purchased, one quickly realizes that there are real costs associated with these big shows and the need for funding is equally genuine. Depending on the festival this funding may be private, public, institutional, corporate, or an equation that includes them all.


Faith47 (photo © Jaime Rojo)

As you may expect, the encroachment of commercial interests is nearly exhaustive in some of these newer festivals, so eager are the merchants to harvest a scene they had little or no hand in planting. Conceived of as vehicles for corporate messaging, they custom-build responsive websites, interactive Apps, clouds of clever #hashtags, company logos, Instagram handles, branded events and viral lifestyle videos with logos sprinkled throughout the “content”.

You may recognize these to be the leeching from an organic subculture, but in the case of this amorphous and still growing “Street Art Scene” no one yet knows what lasting scars this lifestyle packaging will leave on the Body Artistic, let alone civic life.



Icy & Sot (photo © Jaime Rojo)

Stylistically these festivals can be a grab bag as well with curatorial rigor often taking a back seat to availability, accessibility, and the number of interested parties making nominations. While some festivals are clearly leaning toward more traditional graffiti schools, others are a hodgepodge of every discernable style from the past fifty years, sometimes producing an unpleasant sense of nausea or even tears over regrettable missed opportunity.

Clearly the quality is often uneven but, at the danger of sounding flip or callous, it’s nothing that is not easily remedied by a few coats of paint in the months afterward, and you’ll see plenty of that. Most art critics understand that the metrics used for measuring festival art are not meant to be the same as for a gallery or museum show. Perhaps because of the entirely un-curated nature of the organic Street Art scene from which these festivals evolved in some part, where no one asks for permission (and none is actually granted), we are at ease with a sense of happenstance and an uneven or lackluster presentation but are thrilled when concept, composition, and execution are seated firmly in a brilliant context.



TUK (photo © Jaime Rojo)


Finally, murals have become big not just in size but popularity. Every week a street artist is exclaiming that this mural is the biggest they have every made. It is a newfound love, a heady honeymoon, a true resurgence of muralism. Even though you can’t rightly call this legal and sanctioned work true Street Art, many former and current Street Artists are making murals.

Un-civically minded urban art rebels have inferred that Street Art has softened, perhaps capitulated to more mainstream tastes. As Dan Witz recently observed, “Murals are not a schism with Street Art as much as a natural outgrowth from it.” We agree and add that these cheek-by-jowl displays of one mural after another are emulating the graffiti jams that have been taking place for years in large cities both organic and organized.


JPS . Mizo (photo © Jaime Rojo)

From illustration to abstraction to figurative to surreal and even letter-based, this eclectic injection of styles won’t bring to mind what one may typically associate with the homegrown community mural. Aside from the aforementioned festivals that are festooning neighborhoods, the growth in mural-making may be attributable to a trend of appreciation for Do It Yourself ( D.I.Y.) approaches and the ‘makers’ movements, or a desire to add a personal aspect to an urban environment that feels unresponsive and disconnected.

Philadelphia has dedicated 30 years to their Mural Arts Program and relies on a time-tested method of community involvement for finalization of designs and most municipal murals have a certain tameness that pleases so many constituencies that no one particularly cares for them.


Herakut (photo © Jaime Rojo)

The New Muralism, as we have been calling it, that is popping up is often more autonomous and spirited in nature than community mural initiatives of the past with their ties to the socio-political or to historical figures and events. Here there are few middlemen and fewer debates. Artists and their advocates approach building owners directly, a conversation happens, and a mural goes up.

In the case of upstart community programs like the Bushwick Collective in Brooklyn, one trusted local person is ambassador to a neighborhood, insuring that community norms about nudity or politics are respected but otherwise acts purely as facilitator and remains hands-off about the content.


JPS (photo © Jaime Rojo)

On that topic, effectively a form of censoring often takes place with murals – another distinguishing characteristic from Street Art. Given the opportunity to fully realize an elaborate composition, normally wild-eyed and ornery aerosol rebels bend their vision to not offend. Sometimes an artist can have more latitude and you may find a mural may clearly advocate a political or social point of view, as in recent murals addressing police brutality, racism, and inequality in many US cities, anti-corruption sentiments in Mexico, and pro-marriage equality in France and Ireland.

This new romance with the mural is undoubtedly helping artists who would like to further explore their abilities in more labor-intensive, time absorbing works without having to look over their shoulder for an approaching officer of the law. It is a given that what they gain in polished presentation they may sacrifice as confrontational, radical, contraventional, even experimental. The resulting images are at times stunning and even revelatory, consistent with the work of highly skilled visionaries, as if a new generation of painters is maturing before our eyes in public space where we are all witness.


Artist Unknown (photo © Jaime Rojo)

Moving Forward

Despite the rise in festivals and mural programs and the growing volume and sophistication of technology for sharing of the images, Street Art is still found in unexpected places and the decay of neglected spaces. As before and well into the future these self ordained ministers of mayhem will be showing their stuff in the margins, sometimes identified, sometimes anonymous, communicating with the individual who just happens to walk by and witness the work. The works will impart political or social messages, other times a simple declaration that says, “I’m here.”

Whatever its form, we will be looking for it.


Isaac Cordal (photo © Jaime Rojo)


Niels Show Meulman (photo © Jaime Rojo)


Nafir (photo © Jaime Rojo)


John Fekner (photo © Jaime Rojo)


Blek le Rat (photo © Jaime Rojo)


Dan Witz (photo © Jaime Rojo)


Site of an old piece by BLU (photo © Jaime Rojo)


Dieche (photo © Jaime Rojo)


HUSH (photo © Jaime Rojo)


Dolk (photo © Jaime Rojo)


Strok (photo © Jaime Rojo)


ROA (photo © Jaime Rojo)


The remnants of a Phlegm piece from a previous edition of Nuart. (photo © Jaime Rojo)


Please note: All content including images and text are ©, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!




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NUART 2014 x BSA Update 3

NUART 2014 x BSA Update 3


On this third day at NUART we’d like to bring you a bit of the good humored craze that’s happening right now as some of the artists are finding their spots. We also wanted to give a sense of the existing Street Art scene flavor – with individual ad hoc pieces in hidden little spots along with some Nuart pieces still riding from previous years. The neighborhood is a quiet one (at least with New York ears), with cleanly rational homes built on steep angles going up hills of this former town of fishermen famous for their sardines and herring factories.

But you can feel the excitement rippling; Nuart and Numusic are concurrent festivals that bring a certain electricity and anticipatory activation to the streets here as summer turns to fall. Wandering on foot up and down hills with artists to see them preparing walls and having Thai takeout on a green picnic table or watching someone spraying their new stenciled piece in a window at Tou Scene, you will run into folks who have seen this activity before and would like to know the schedule of events.

The posters and banners are hung, the printed programs, postcard, the many stickers are all around town, artists are arriving, paint is allotted, and Kristal is ferrying guests swiftly in her car from one location to the next – offering history of the town, the festival, apple juice, and maybe piece of Norwegian chocolate if you like. Also Martin Whatson got stuck for an hour and a half fully extended up on a lift at the airport yesterday.


±MaisMenos± new word stencil at Tou Scene. Nuart 2014. Stavanger, Norway. (photo © Steven P. Harrington)

In this new piece ±MaisMenos± employs the double meaning that he typically uses in his communication on the street. A form of activism sometimes, but more accurately he considers it an initiation or continuance of a conversation on the street as well as his acknowledgement of the duality of most situations in life. In his new piece here ±MaisMenos± makes reference to the famous phrase from Dorothy in The Wizard of Oz, where one longs for something. He offers hope, and at the same time he wonders about what are the resulting machinations in the act of offering hope – something not tangible

“I like people to have a double feeling about stuff. I do that a lot in my work. When there is a direct message you can always see another point of view. There are always two sides of a coin, another perspective,” says ±MaisMenos±, who will be giving a presentation on his work at the Activism Seminar Day Saturday for Nuart Plus.


Strøk has been invited back t0 Nuart 2014. This is an old piece from last year. Stavanger, Norway. (photo © Steven P. Harrington)


Strøk has been invited back t0 Nuart 2014. This is an old piece from last year. Stavanger, Norway. (photo © Steven P. Harrington)


Icy & Sot. Nuart 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Icy & Sot working on their installation for Tou Scene. Nuart 2104. Stavanger, Norway. (photo © Steven P. Harrington)


Andreco working on his wall. Nuart 2104. Stavanger, Norway. (photo © Steven P. Harrington)


Dotmasters did a much larger version of this on a entire building side for a previous edition of Nuart. This one is a tiny hidden version with the bear about the size of a hand-span. Stavanger, Norway. (photo © Steven P. Harrington)


Volunteers leaving Nuart Studio and an old but hugely dramatic Dotmasters stencil from a previous edition of Nuart hangs on the right. Stavanger, Norway. (photo © Steven P. Harrington)


Missed Connections with Lionel Ritchie. Nuart 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Jamie Paul Scanlon, alias JPS.  Stavanger, Norway. (photo © Steven P. Harrington)


Jamie Paul Scanlon, alias JPS.  Stavanger, Norway. (photo © Steven P. Harrington)


A poster advertising an upcoming event and a piece by Ernest Sacharevic from last year’s editon of Nuart.  Stavanger, Norway. (photo © Steven P. Harrington)


Posters advertising Reed Projects, NUART and NUMUSIC events are all over this part of town. NUART 2014.  Stavanger, Norway. (photo © Steven P. Harrington)


A wall with a cluster of previous NUART alumni: C215, HUSH, Word To Mother and D*face. NUART 2014.  Stavanger, Norway. (photo © Steven P. Harrington)


A Dan Witz  piece from a previous Nuart edition. NUART 2014.  Stavanger, Norway. (photo © Steven P. Harrington)


Artist Unknown. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Artist Hama Wood putting up a fresh stencil at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Aakash Nihalani from a previous edition of Nuart. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Artist Unknown. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Team Borondo working on the installation for Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)


This Is Not @rt. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)


Artist Unknown. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

Click HERE for NUART 2014 full schedule of events and details.


NUART 2014 Begins with “Broken Promises”



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