It’s our first snowy December day with swirling clouds of the white snowflakes swirling around you with cigarette butts and potato chip bags and pine snippings from the Christmas tree salesman name Pierre on you block. The First night of Hanukkah is tonight — best wishes to our Jewish friends and families across the city. Menorah lightings and Festival of Lights gatherings are popping off in Brooklyn at Grand Army Plaza, down at the South Street Seaport, and over on Pier 17, where a LEGO menorah is doing what LEGO does best: being quietly indestructible. Expect music, food, treats, face painting — the whole megillah.
The holiday hum (and humbug) carries through the month with holiday markets at Union Square, Columbus Circle, and Bryant Park. For all your ice capades, New York offers Bryant Park (Midtown), Wollman Rink (Central Park South), LeFrak Center at Lakeside (Prospect Park), World Ice Arena (Flushing Meadows–Corona Park), and the FDR Drive (Lower East Side) after it floods, weather permitting. Yes, that tree is lit and doing its annual job of reminding everyone they live in New York, not wherever they came from. Add in these amazing periodic Fifth Avenue street closures when you can literally run on the streets — these rare moments when pedestrians get the upper hand — and the city briefly becomes what it’s always threatening to be: festive, walkable, and almost humane.
Of course, depending on which headline you read, all joy is apparently set to expire on January 1. Certain tabloids would have you believe the city is one Mamdani mayoral term away from collapse, chaos, and moral freefall. That’s one way to welcome the new guy. But if you’ve lived here longer than five minutes, you already know the script — New York absorbs the panic, shrugs off the noise, adapts, and keeps moving. Ideally on foot. Preferably with a hot chocolate.
Zohran Mamdani is a New Yorker, part of the long line of immigrants and children of immigrants who built this city and, frankly, the country. While we’re at it — love to our Muslim friends and families across the five boroughs. New York works best when everybody’s in the room. Happy Hanukkah, Christmas, Solstice, Kwanzaa — and to everyone else, good luck making it to January.
This week, our interview with the streets has a Miami hangover and a New York winter cold snap (slap), with new murals, graffiti pieces, and street art conversing with you as you march to the subway, laundromat, or ice-skating rink. Artists and writers and street scholars this week include: Atomik, Clown Soldier, Cruze Oner, Daniel Lloyd, Dreamscape, EXR, Hiero Veiga, INFOE, Kams Art, Lexi Bella, Mesper, Mr. June, Mucky, Shepard Fairey, Tati, Tesoe, Werds, Zoot, and Zwon.
If you know Shepard Fairey, then you already know: he’s never been one to sit back and let the powers that be go unchecked, from his own plugged-in and purposeful wiseguy perspective. From Andre the Giant Has a Posse wheatpastes in the ’90s to “Hope” posters on campaign walls, his work straddles the intersections of street art, punk defiance, political critique, and populist propaganda with a purpose. He’s a true lifer—rooted in skate culture, DIY ethos, anti-authoritarian graphics, and a conviction that art can and should speak truth to power.
In this new poster campaign, DEI-TY, Shepard zeroes in on a cultural moment when long-standing efforts to make society more inclusive are being flipped upside down by those seeking to divide and conquer. Always direct, yet heavy with symbolism and art/design history, the new poster artwork pulls from Orwellian surveillance aesthetics and throws an unmistakable orange glow over its intended subject. Yes, it’s Trump—but it’s also a larger warning learned from our human history to beware of personality cults, shallow populism, and manufactured outrage.
What follows is a wide-ranging interview that captures Fairey’s frustration, clarity, and urgency—served up with the kind of seasoned insight that comes from decades of navigating art, activism, and political absurdity. Now you’ll see a sharpness in his tone that speaks to the times: an artist who considers the stakes clearly and isn’t mincing words. If you’ve followed his career, you’ll recognize the heat generated by his signature mix of bold graphics and civic fire. If you’re new to it, welcome to the resistance—art’s not dead, and Fairey’s not done.
At the end of the article, you’ll find a selection of previous works that speak to the arc of Shepard’s creative and cultural engagement. Youcan also download the new DEI-TY poster for free, to print, paste, share, and use however you see fit. Once again Fairey demonstrates that in the face of rising intolerance and authoritarian power plays, silence is complicity—and art is one hell of a megaphone.
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BSA: Your poster flips the acronym DEI from a framework for equity into a confrontation with authoritarian ego. In a list of topics to address, what gave you the spark for this specific artwork?
Shepard Fairey: Of course, the verbal assault on the DEI programs at colleges and corporations infuriated me, but it became something more serious when Trump began to rescind funding to colleges and deny contracts to companies with DEI programs. I think Trump attacks DEI because he associates it with “woke” people who don’t support him. The bottom line is that Trump rewards those who stroke his ego and punishes those who don’t. Having someone that shallow and petty influence policies that impact millions is incredibly dangerous. In my original post, I laid out the definitions of Diversity, Equity, and Inclusion because they are concepts that are pretty hard for a rational, fair-minded person to disagree with. Here they are again:
Diversity: the condition of having or being composed of differing elements: variety.
Equity: the quality of being fair and impartial.
Inclusion: the act or practice of including people who have historically been excluded (often because of their race, gender, sexuality, or disability).
BSA: Many times, you have critiqued cults of personality and authoritarianism with your work. In DEI-TY, the term “self-proclaimed deity” seems aimed squarely at that. Is it the figure or the ideology that folks have beef with?
Shepard Fairey: Both. I’ve described Trump, the specific “self-proclaimed deity” referred to in the print, as the festering zit that is the hideous manifestation of the underlying bacteria. The analogy isn’t entirely accurate, though, because in Trump’s case, his influence makes the bacteria even more toxic. It’s a brutal cycle. Trump encourages his followers to scapegoat the vulnerable, vocalize and act on their worst prejudices, and then he feels emboldened to behave like a dictator and double down on the most inflammatory rhetoric and cruel policies. This is a cycle and culture that erodes civility and democracy.
BSA: You’re offering these prints as free downloads, which suggests a sense of urgency and mass mobilization. Do you see DEI-TY as part of a larger visual resistance? How do you hope people will use it?
Shepard Fairey: I always want people to mobilize. I use my art to inspire people to care, because they won’t act if they don’t care. Some of my pieces, such as DEI-TY, can also serve as tools to convey an idea… tools I’d like anyone to be able to use if they are inspired. Visibility for a counter-narrative is essential to mobilizing people and shifting culture.
BSA: How do people navigate the increasing weaponization of terms like “DEI” in political and media discourse? Do you see this poster as an intervention in a culture war? As an aside, how much of this is a genuine concern to average people, and how much is ginned up to get us to fight with each other?
Shepard Fairey: DEI should be unassailable as an idea. Somehow, Trump has turned people against bedrock principles of American philosophy like diversity, equity, and inclusion, which should be universal, while normalizing lying, scapegoating, and undermining democracy, all of which should be universally unacceptable. Yes, the culture war is his aim, and the attacks on DEI don’t impact everyone directly, but I’m a believer in the concept that injustice anywhere threatens justice everywhere.
BSA: This new imagery echoes some of your earlier pieces that blend Orwellian surveillance aesthetics with activist messaging. What’s different about DEI-TY?
Shepard Fairey: You’re right about the Orwellian aesthetic. Trump is a fascist and a menace. He doesn’t genuinely believe in freedom, except for the freedom to be a dictator. He is very Big Brother-esque in his approach to purging dissenters from government and education. The main difference is that this print uses orange (for obvious reasons) and this print addresses general principles AND specific villains. I’d love for 1984 to be irrelevant, but unfortunately, it might be more relevant in this moment than ever before in U.S. history.
SHEPARD IS OFFERING THESE TWO NEW POSTERS ABOVE FOR FREE. CLICK HERE FOR A FREE DOWNLOAD
Following are a few from the vault from Fairey that run parallel in political, social, and stylistic spirit.
Statement from Shepard Fairey for the release of the new poster:
“Please read the words DIVERSITY, EQUITY, and INCLUSION and think deeply about their meaning – individually and collectively.
Diversity: the condition of having or being composed of differing elements: variety.
Equity: the quality of being fair and impartial.
Inclusion: the act or practice of including people who have historically been excluded (often because of their race, gender, sexuality, or disability).
DEl is meant only to enhance the priority of our institutions and workplaces to provide equal opportunity to the many groups that make up our beautifully diverse nation.
These formerly unassailable ideas have been aspirationally woven into our nation’s entire history, even if our idea of who is equal has thankfully evolved to include more than just white men.
From the Declaration of Independence to the 14th Amendment granting equal protection for all citizens, to the 15th Amendment granting Black men the right to vote, to the
19th Amendment granting women the right to vote, to the Civil Rights Act outlawing discrimination based on race, color, religion, sex, or national origin, we have moved toward a more fair and less discriminatory society. The symbolism of the Statue of Liberty as a welcoming beacon to those fleeing forms of discrimination to find refuge in the melting pot of the US is a cornerstone of the American story. The current attack on DEl is nothing less than a betrayal of American values and aspirations. The attack on DEl is very literally a Republican policy of discriminating against those who oppose discrimination in their businesses and organizations.
When have racism, sexism, homophobia, or the like been okay in plain sight from our leadership, much less turned into law that punishes those trying to provide equality? I feel like I’m in a dystopian mirror world. Terrifyingly, this is here and now, and catalyzed mainly by one power-hungry narcissist who is a deranged, egomaniacal, insecure, tyrannical, yapster. If you oppose the mean-spirited embrace of discrimination like I do, please use every tool at your disposal to push back, especially by voting in EVERY election, including the midterms. We have power in numbers if we use it!”
Okay, it was a sphere. Shepard Fairey’s Sphere. At least for a month.
Yes, it was street art… on a whole new level. We’ve been questioned endlessly over the last two decades about the true nature of art in the public sphere—pulling apart and examining the progenitors, the aspirations, the elements that comprise street art, graffiti, public art, and advertising—mainly because we wanted to understand the genesis of this story. Today we find that sometimes it all merges into one.
The opportunity to get your work up there, animated, glowing across 1.23 million puck-shaped LEDs, is awe-inspiring, no matter what you utter. This Exosphere swells the art and the message—Fairey’s familiar visual nomenclature—upward and spinning into the night sky, at once familiar and universal, activist and entertaining, reassuring and unsettling. Yes, it’s like getting up on a wall, except this one powers its content with 150 NVIDIA RTX A6000 GPUs, each packing 10,752 cores and 48 GB of memory, ensuring smooth high-res rendering.
Created for Earth Month 2025 as part of the Sphere’s XO/Art program, Earth Power Globe is a 90-second animated mandala that merges Fairey’s bold graphic language with environmental themes and symbols. It pulses with life—air, water, and vegetation coursing through his palette—reminding us of both the earth’s fragility and the unfathomable force that nature can be. Nested within the rotating layers are references to ecological threats and utopian ideals, brought together in a style that is distinctly Fairey: floral, political, defiant, hopeful.
Shepard wasn’t alone in making it happen, and he always gives credit. The animation was brought to life with the help of The Mayda Creative Co. and MA+Group, whose teams helped translate his flat graphics into a fully immersive, kinetic experience—one that plays nightly on this, the largest LED screen on earth. For an artist whose career began with wheatpasted André the Giant posters, the moment may feel cosmic.
But Fairey’s presence in Las Vegas this month wasn’t limited to the Sphere. He also served as a guest judge for the XO Student Design Challenge, where students from the Las Vegas area submitted Earth Day-inspired designs for a chance to see their work projected onto the same Exosphere. It’s the kind of crossover between professional artist and next-gen creator that feels right—especially here, where public visibility, bold ideas, and a serious dedication to playfulness come together.
A la Fairey, the project blends art, message, and technology into something more than the sum of its parts. It’s street art, sure—but turned inside out, lit up, and rotating.
Today at 10:00 AM PDT Shepard Fairey will release his newest print and collaboration with Martha Cooper, “People’s Discontent”. Shepard’s long friendship with Martha has brought several collaborations throughout the years with Shepard remixing some of Martha’s most iconic photos from her Street Play series from the mid-’70s. The print already saw its European release in Berlin last Friday, October 30th at the Urban Nation Museum in Berlin with us and Martha in attendance.
“I teamed up with my good friend and documentary photographer, Martha Cooper, on a new print release called “People’s Discontent.” Martha Cooper has been photographing creative kids in action on city streets since the mid-1970s. I remixed one of Martha’s iconic photos from her book, Street Play, titled “Hitchhiking a Bus on Houston Street” that she shot in 1978 in the Lower East Side of New York City. There was no advertisement on the back of the bus in her original photo, and since disco was the rage in the late ’70s, I thought it made sense for me to add a disco radio station with the slogan, “Listen To The Sounds of People’s Disco.” I added the “DISCO-ntent” and the spraypaint can in the kid’s hand as if he sprayed that on there. It’s a nod to that era but also to what’s going on now with the unrest around social justice issues.”
“This limited edition print was first released through Urban Nation Museum in Berlin as part of their current show “Martha Cooper: Taking Pictures” curated by Jaime Rojo and Steven P. Harrington of Brooklyn Street Art and will soon be up on my website this Thursday at 10 AM PT. Check it out!” – Shepard Fairey
Shots today from last month’s Shepard Fairey “Future Mosaic” at Dubai’s Opera Gallery. With works on canvas, paper, wood, and metal, as well as examples of iconic images and repeated motifs from the breadth of his art and design history, Fairey was very much present for his first solo show here. In a grueling schedule of just 9 days he also managed to install two huge murals facing a skate park in a commercial district of the city, the d3 (Dubai Design District).
Shepard Fairey. “Future Mosaic”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong)
Rise Above Peace Dove and Rise Above Peace Fingers incorporate what appears as a richer vibrant palette and pulsing graphic interplay than previously, perhaps due to more dense hues and the fact that his core crew of Dan Flores, Luka Densmore, and Rob Zagula were on hand along with Jon and Marwan offering additional help. Staying clear of strident language or slogans, the new works are largely representational and universal in themes of “justice, peace and human rights.”
Shepard Fairey with the dream team ready to work. “Future Mosaic”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong)
Fairey withstood criticism on social media for even working in the region, it would appear, let alone lending his name to an effort that they saw as hypocritical in light of his previous vocal stances on human rights, for example.
He took to Instagram to address his critics, “I hate to burst anyone’s bubble, but it’s not a perfect place, but perfection does not exist and certainly not in the US. However, without this experience, I would not have been able to engage in robust discussions with the great people I met in Dubai. There’s nothing more relevant to my inside-outside strategy than traveling there and doing public art conveying harmony and positivity.”
Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong)
Elsewhere in another post, he wrote, “It is very important for me to do public art when I travel because it engages people outside of the art world, but it is not easy to secure public walls in Dubai.”
The opportunity to show and share and sell your art is something we want for any artist. In the case of Fairey, judgment metrics would need to include his two decades of generous acts promoting and supporting all manner of environmental, social justice, and civic participation efforts. We’ll confidently observe that year after year, his impact can far outstrip the average street artist and certainly most art collectors by miles. We dare say he’s unmatched. Let that be your goal.
Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong)
“The show was massive, with 159 works that utilized the gallery space with a rhythm of scale and concentration,” he says. “My art practice focuses on the work’s cumulative effect, both visually and conceptually, so I was pleased with the final result.”
Shepard Fairey. “Future Mosaic”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. Skectch for “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Dove”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Dove”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Dove”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong) Shepard Fairey. “Rise Above Peace Fingers”. Dubai. UAE. March 2021. (Photo: Courtesy ObeyGiant.com / Photographer Jon Furlong)
This way when the neighbors in the building across the street see you hanging out the window during our 7 pm public applause session — they’ll know even more about your worldview.
Social Distancing (courtesy of Studio Number One)
“Art has the power to bring us together, even when we’re apart,” says Street Artist, graphic artist, fine artist Shepard Fairey, who has designed posters along with his Studio Number One for us all to use as we like. It may even help many of us feel like we are doing this together, instead of solo.
“We are all in this together,” Shepard says, “and we will
overcome this.”
Where is the People’s Bailout? Why has the bailout that was promised to small businesses already run out? Why is congress on vacation? Why is Biden staring up at the wall like he’s concentrating on a dead spider? The people are dying, running out of food, the economy is dying, businesses are dying. The Post Office, starved and bad-mouthed for years by the capitalists who want to kill it, is finally dying. Do we realize which direction the US is being dragged by the oligarchs and their one party corporate Republicrat-Demoblicans?
Banksy, with his typical sense of humor and levity, came out from isolation to share with us his visual metaphor that accurately illustrates one of the many ways in which isolation affects humans…photos were taken directly from the artist’s Instagram account. (photos @Banksy)Banksy. Detail. (photo @ Banksy)Banksy. Detail. (photo @ Banksy)Banksy. Detail. (photo @ Banksy)Banksy. Detail. (photo @ Banksy)Untitled. Brooklyn, NY. Spring 2020 (photo @ Jaime Rojo)
Hammering the display walls, sanding off the plaster bumps, the whirring and popping of construction drills: Two assistants are helping 1970s NYC subway writer Lee Quinones lay out a #2 train-car-length canvas on the floor while you are distracted by the Empire State building puncturing the Manhattan cityscape across the East River, a sweeping vista through the glass walls of this new high-rise in Williamsburg.
Nearby Cornbread’s notebook hangs next to his signature, a potent visual reverberation across five decades from graffiti’s Philly roots.
Elsewhere there are the sounds of woodsaws and metal clanging accompany the one-line drawings of freight-writer buZ blurr as historian Bill Daniel is completing his comprehensive mini-exhibition within this massive exhibition. With trains and photos and modern relics of American rail lore on display, this crucial antecedent of modern-day aerosol “writing” emerges and blows its chimes as well. This is a particular slice of the graffiti story that Mr. Daniel may describe, as he does in The Secret History of Hobo Graffiti, as “the dogged pursuit of the impossibly convoluted story of the heretofore untold history of the century-old folkloric practice of hobo and railworker graffiti.”
It’s an apt descriptor for Beyond The Streets as well. This multi-artist graffiti/Street Art-influenced exhibition directed by the discerning shepherd and seer Roger Gastman that is now mounting over two floors and 100,000 square feet in North Brooklyn tackles an endlessly convoluted evolutionary path. He says the size and composition of the exhibition has slightly changed since its first mounting last year in Los Angeles, and he is acutely aware that its location is in the city that claims a huge part of the graffiti genesis story, carrying perhaps a steep level of expectations.
Not that he has reason to worry: there are more hits here than a blowout at Yankee Stadium.
Like the blast of colors and pieces at a sunny Saturday afternoon Meeting of Styles jam, this show of many writers, photographers, documenters, collectors, painters, vandals, and attitudes won’t disappoint. You can see and construct your own version of a celebratory story that illustrates and reveals surprising ways that the street subculture has left its mark indelibly on the mainstream, yet often stayed separate.
From the Beastie Boys wigs worn in the “Sabotage” music video to the camera Joe Conzo used to shoot the Cold Crush Brothers, to the MDF and cardboard pay phone by pop sculptor Bill Barminski, and Dash Snow’s hi-low societal slumming photographs depicting sex, drugs, rhyming and stealing, visitors easily will have a flood of images and histories to author their own convoluted version of the graffiti and Street Art tale.
“Questioning the giant monolithic forces that we are all subjected to” – Shepard Fairey
“It all began with an absurd sticker of Andre The Giant that was a happy accident,” says Street Artist Shepard Fairey about his first foray as an artist on the streets back in ’89. “So there’s a giant in the original sticker which evolved into an exploration of control, questioning control, questioning the giant monolithic forces that we are all subjected to,” he says.
You didn’t doubt that Shepard had an anti-demagogue, anti authoritarian, anti-propaganda stance even then; his methods for skewering were cheekily challenging, often employing propaganda methodology of his own to get the point across. Good design, good satire, and grand targets.
As Fairey begins his multi-pronged celebration of three decades of questioning self-appointed authority and the agents of dis-information, the folks at Chop ‘em Down Films have produced the opening salvo here – and we’re sure you’d like to see it.
“Facing the Giant: Three Decades of Dissent” for the OBEY GIANT 30th body of
work – reflecting on 30 years of his art in the streets… and everywhere else”.
Facing the Giant: Three Decades of Dissent. Video by Chop ’em Down Films
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. Welcome To America Owen Dippie by Erin Dippie
2. Covert To Overt: Photography of Obey Giant by Jon Furlong
3. Taken By Storm: The Art Of Storm Thorgerson And Hipgnosis Trailer
4. Sobecksis Mural “Motion” in Mannheim
BSA Special Feature: Welcome To America Owen Dippie by Erin Dippie
A nice homemade video this week by New Zealand painter Owen Dippie’s talented wife Erin, who documented his trip to New York and LA. Without the hype this gives you an idea what it is like to be a tourist here, and it is good to see the experience through the eyes of a loving partner.
Covert To Overt: Photography of Obey Giant by Jon Furlong
A unique way of promoting a book and a photographer, this video introduces us to Jon Furlong, who has been trailing Shepard Fairey for about a decade and has become a trusted and valued member of the team.
Taken By Storm: The Art Of Storm Thorgerson And Hipgnosis Trailer
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. Shepard Fairey’s Wall in Little Italy
2. ARYZ for CityLeaks
3. Robots Spraying Out the Window – Jeff Soto
4. Robo-Rainbow
5. NO AD: NYC
6. Edoardi Tresoldi “Pensieri” For street art festival “OLTRE IL MURO” in Sapri, Italy
7. Ryan Seslow / Adam Void * Handstyles
BSA Special Feature:
Shepard Fairey’s Wall in Little Italy
Produced by Element Tree, this is the video by Serringe that just came out a couple of days ago of Shepard Fairey’s recent installation in New York.
ARYZ for CityLeaks
From the CityLeaks Urban Arts Feastival in Cologne, Germany, here is ARYZ speaking about the largest skeleton he’s every painted.
Robots Spraying Out the Window – Jeff Soto
This car manufacturer placed robots in a car to spray the walls to give their product some street cred. While they are busy patting themselves on the back we’re reminded of many street art autonomous innovators who have done this kind of work on the streets before, like Mudlevel, who created the Robo-Rainbow three years ago (below). Self-funded experimenters have jerry-rigged bikes, scooters, contraptions, machines, even drones to spray paint onto walls over the last decade so this brand hasn’t pioneered anything new necessarily. Possibly they just saw the Alexander McQueen robots spraying a dress in 1999.
Cool project nonetheless and props to artist Jeff Soto for his continued good work.
Robo-Rainbow
A splendid look at street ingenuity and over-thinking the simplest job. Clap your hands for MUDLEVEL.
NO AD: NYC
Augmented reality continues to grow into the consumer world and this app will help you to replace those pesky print messages foisted into the public space with, oh, art.
Perhaps soon when you scan one of those hideous new all-car subway advertising campaigns it will trigger a full car piece by Lee Quinones! Now that’s an idea worth pursuing!
Edoardi Tresoldi “Pensieri” For street art festival “OLTRE IL MURO” in Sapri, Italy
A permanent installation of electro-welded net for Oltre il Muro festival, in Sapri, Italy, bends perception depending on the angle it is seen from, especially when shot by drone.
Grafideo = Graffiti + Video * Ryan Seslow / Adam Void * Handstyles
In their second collaboration, this Street Art and graffiti duo offer up their latest experiment combining their interests and skills and feeding them through a series of texturing. “This is what happens when new-school meets old-school, when technology collides with the primal. Real life distortion of spray tags & letter styles merged with animated gifs & overlay filters.”
Boy did you smell the rotting hot winds blowing hard through Brooklyn this week? Makes you want to wash the ick off doesn’t it? Ballooning above the fetid stench of decaying garbage in dumpsters and drunken late-night urination, a distinctly bloated snorting powdery heat rose from Duane Reade Island and came across the East River, bringing with it a rather Coney Island-style circus of crusty hot air mixed with a whiff of braying pomposity. Luckily, it was a brief blast of the gaseous odor, dissipating quickly back into irrelevance and the now clean cool air has returned. At least as clean as the BK can muster.
As we do every week, here are a selection of new work that has arrived as we celebrate the true spirit of creativity and the community that has always buoyed us, no matter the weather. As usual, we’re happy to be right here with you on the stoop, hopefully staying cool.
This weeks interview with the street features Bisco, Bo130, Buff Monster, Case Ma’Claim, Cash For Your Warhol, El Tono, Galo, Microbo, Nychos, Shepard Fairey, Smithe, and The London Police.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
