All posts tagged: Poverty

“Decolonizing Street Art” Gives Voice to More than the Usual

“Decolonizing Street Art” Gives Voice to More than the Usual

Politically themed Street Art or murals have a long tradition – as long as people have had something to advocate for or against. The modern Street Art movement may trace its roots to political postering that came with the printing press or 20th century Mexican muralism or the 1968 student demonstrations around the world, especially in Paris – but artists have used and been used to communicate ideas and opinions in the public sphere much longer than this.

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Decolonize History.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Zola)

Today, whether it is the Arab Spring or the Occupy movement or simply a personal campaign to combat harassment by cat-callers or the economic violence of local gentrification, politically charged speech of one sort or another takes place on the street when artists give it voice.

“Decolonizing Street Art”, a festival an project that took place in August in Canada, convened with the idea that carrying issues directly to the public can affect opinions and possibly produce positive change for people whom the organizers would like to give voice to.

Since the high profile and increasingly moneyed version of the current Street Art festival scene is populated worldwide primarily by men with characteristics of the dominant culture, the organizers and participants of “Decolonizing Street Art” may also be commenting on that backdrop as well. Whatever the motivation, these are voices that not many hear or see.

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Decolonize History.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ ThiênViệt)

Hosted in and programmed “on unceded territory, in so-called Montreal”, this handful of artists speak of the indigenous people of the planet and the history of colonialism, the Arab/Israeli conflict, the poisoning of the environment and its effect on humans and animals, and the rights of many marginalized categories of people.

With a concentrated effort this first entry into a still-forming circuit of Street Art festivals and programs worldwide, Decolonizing Street Art makes a formal statement about making space for more radical views comparatively than one typically sees. Whether it is native communities or disenfranchised poor or disappeared women, this effort aims to bring more voices to the street to speak their truth.

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Zola.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Zola)

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LMNOPI.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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LMNOPI.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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LMNOPI.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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LMNOPI . Red Bandit . Swarm.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Red Bandit.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Swarm. Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Swarm. Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Pyramid Oracle. Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Jessica Sabogal.  Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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David Rotten. Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Chris Bose. Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Võ Thiên Việt)

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Chris Bose. Decolonizing Street Art festival. Montreal, Canada. August 2014. (photo © Zola)

To learn more about Decolonizing Street Art click HERE.

See videos from five of the participating artists on BSA Film Friday 10.10.14.

 

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“Coachella Walls”: Date Farmers Raise Profile of “Anonymous Worker”

“Coachella Walls”: Date Farmers Raise Profile of “Anonymous Worker”

Seriously, like Coachella is NOT even like in Coachella. It’s like in Indio. True story.

The annual concert festival that brings legions of middle class to somewhat affluent feathered fringed bikini babes and awesome face-painted dudes dropping acid while texting and buying merch? – and which apparently features big-name indie music at some point over two weekends in April? That’s not here. That town is called Indio.

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Coachella Walls Poster at a local farm. (photo © Medvin Sobio)

Here in Coachella, the “City of Eternal Sunshine,” no one shoots YouTube videos about “How to Survive Coachella” with hints about SPF 55 sunscreen sticks and personal sized hand sanitizer. Here you will find a mostly rural, agricultural, family oriented community which struggles with poverty regularly. They also pick a lot of your food.

That’s why Armando Lerma and Carlos Ramirez, artistically joined as The Date Farmers, began an “arts-driven community revitalization project” on March 31st, recognized in California as Cesar Chavez Day.

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Armando Lerma of The Date Farmers keeps and eye on the rambunctious fans. (photo © Medvin Sobio)

Inviting solidly remarkable street art and mural-painting talents to show some camaraderie with the working men and women in this community, the first annual Coachella Walls has now made its mark in the Historic Pueblo Viejo District of downtown. Here also is the recently opened Date Farmers Art Studios, which they hope will serve as the city’s first art gallery and artist residency.

Thematically joined to honor Chavez and the Anonymous Farm Worker, the festival invited a group of muralists and contemporary artists with Latin American cultural influences in their work, including artists like El Mac (Arizona), Nunca (Brazil), Saner (Mexico), Andrew Hem (Cambodia), Liqen (Spain), Albert Reyes (Los Angeles), Vyal Reyes (Los Angeles), Sego (Mexico), The Phantom (Los Angeles), Jim Darling (Texas), and more.

According to the organizers, “Despite supplying the region with close to half a million dollars a year in vegetable crops, many of the farm workers in the Eastern Coachella Valley continue to live in unsafe and unhealthy conditions.” With murals, luck and a whole burlap sack of talent like this, Coachella Walls aims to bring awareness to these issues and others related to the life of the worker here.

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The Date Farmers (photo © Medvin Sobio)

Medvin Sobio was contacted by the Date Farmers to help produce and curate the public art project, and he shows us some of the images that came out of this very first annual event. Coachella Walls is funded by the city of Coachella’s public arts fund and is curated by Sobio, the director of The Academy of Street Art  in Los Angeles. Our thanks to Medvin and the Date Farmers for sharing these images with us.

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The Date Farmers at work on “Casa de Trabajador”(photo © Medvin Sobio)

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The Date Farmers (photo © Medvin Sobio)

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The Date Farmers (photo © Medvin Sobio)

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Armando and Carlos assessing the progress. The Date Farmers (photo © Medvin Sobio)

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The Date Farmers (photo © Medvin Sobio)

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Albert Reyes (photo © Medvin Sobio)

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Albert Reyes (photo © Medvin Sobio)

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Andrew Hem (photo © Medvin Sobio)

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Andrew Hem with Carlos Ramirez of The Date Farmers (photo © Medvin Sobio)

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Andrew Hem (photo © Medvin Sobio)

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Andrew Hem (photo © Medvin Sobio)

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Andrew Hem (photo © Medvin Sobio)

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El Mac (photo © Medvin Sobio)

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El Mac (photo © Medvin Sobio)

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El Mac chats with Andrew Hem. (photo © Medvin Sobio)

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El Mac. Carlos Ramirez of The Date Farmers snaps a shot. (photo © Medvin Sobio)

Says El Mac about this painting on his blog, “It’s not intended to represent any one specific person, but rather many people, especially the “anonymous farm worker”. Farm workers in this country have been marginalized despite producing the very food we all need for survival. The Coachella valley is an important region for farming, and has been the setting for many of the struggles by the UFW to to improve workers’ rights since the 60s..and you can feel this history there.”

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El Mac (photo © Medvin Sobio)

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Nunca (photo © Medvin Sobio)

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Nunca “The Band” (photo © Medvin Sobio)

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Nunca “The Band” (photo © Medvin Sobio)

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Nunca “The Band” (photo © Medvin Sobio)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, 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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Chris Stain and Billy Mode: Danger, Poverty, Friendship

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Did you see all the kids going to school today?  It was LOUD on my bus as everybody was cramming in, some holding hands of their mom or dad or grandparent. Little backpacks, new shoes, excitedly talking about what classes are going to be like this year and what they did over the summer.

Times like this give us a bit of hope in a period when so much for so many seems uncertain. Two years into an economic kick to the stomach and many of us are still reeling, trying to hang on, and some are falling off. For the first time, many are understanding the dangers of poverty and it’s dehumanizing cyclical nature.

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Naturally, some artists are there to help us see us – canaries in the coalmine, they dare to go there and talk about the dangers ahead and the dangers present.  Armsrock, Swoon, Chris Stain, Specter, even new artists like Indigo and Joe Iurato – all explore sides of the human experience that are difficult for us to talk about sometimes but all the more necessary.

Taking advantage of really temperate and long summer days recently, Chris Stain and Billy Mode have been working in the beauty that is upstate New York on a few murals – some of which contemplate the realities of a system that can push people into the margins and leave them there. Incorporating some of Chris’s recent imagery of the boy along with his signature atmosphere urban signposts, the two created a graff-style sign across the front spelling the word that is associated with poverty.

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Says Stain, “The mural says ‘Danger’ and it’s a tribute to our friend VOKE. One of his early tags was DANGER. He was the most creative person that Bill and I knew, always pushing the boundary of what graffiti was about and what it could become. With this piece we tried to do just that by incorporating graffiti style lettering and stencils. ”

A 20 year old picture of a piece by Voke, courtesy Chris Stain
“Voo Doo”, A 20 year old picture of a piece by Voke, courtesy Chris Stain

To Stain and Mode, Voke was doing stuff with his graffiti in 1990 that later would become more familiar as “Street Art”. Chris explains how the graffiti artist was moving in the new direction even then, “He was introducing elements that were unusual in graffiti lettering at the time. Like the pinwheel in place of the ‘O’ for example. The ‘V’ is made up of two nail like spikes.”
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For the two Street Artists, who easily switch back and forth between brushes, cans, stencils, and freehand, working collaboratively is always freestyle. “Bill and I have been painting together for over 20 years. We have developed a certain rhythm and trust that allows us the freedom to create without inhibitions. I think it comes from a mutual respect. We usually develop a loose plan and let each other add our own ingredients,” says Chris.

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images courtesy and copyright of the artist
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