Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Wall Writers
BSA Special Feature: Wall Writers
Wall Writers: Graffiti in its innocence. Directed by Roger Gatsman and narrated by John Waters is a documentary accompanied by a book with an introduction by Barry McGee. The film was released in 2016. Redbull is streaming the full film on their website now. For those interested in the birth of graffiti and wish to know more about the pioneers writers such as Taki 186, Cornbread, Snake 1 and, many more legends this is a perfect weekend treat.
They used to run from the Vandal Squad in this
neighborhood. Now people pay to see their art here.
Through the expansive glass wall on the 6th floor you can look down Kent Avenue to see the spot where a monster pickup truck with a heavy chain tied around a FAILE prayer wheel almost jackknifed on the sidewalk, gave up and sped away. Not that many Brooklynites saw that event in the 2000s – nobody walked here and few people drove through Williamsburg then except truckers looking for street walking ladies wearing high heels and spandex. Oh, and a serial killer.
Now visitors buy tickets to see a circular colonnade of FAILE prayer wheels here at 25 Kent – including the real estate developers and Wall Street professionals who displaced the community of artists whose work made the neighborhood attractive and “edgy”.
Along with Street Artists in this exhibition like Shepard Fairey, Bast, Swoon, Invader, Aiko, Dan Witz, Katsu, 1UP, and Lister, the FAILE duo put completely illegal artworks on walls under cover of night and threat of arrest in this same neighborhood then – transforming it with many others who are not in this show into an open gallery of the streets, placing Williamsburg on the map as New Yorks’ epicenter of the newly emerging Street Art scene.
The Nature of Graffiti and Street Art
As graffiti and Street Art are migratory and necessarily elusive by nature, this story is only one chapter in a volume of history that serious academics are now reconstructing and analyzing. With each passing year and published white paper, the practices of 20th century public mark-making are being examined in greater detail for archiving and for posterity. Not surprisingly, institutions, patrons, collectors, and brands are increasingly interested in this story as well.
When it comes to the anarchic subculture of illegal
street art practice and its influence on society, there are non-stop ironies
sprayed en route from verboten to Vuitton, and street culture has supercharged
the imagination of the mainstream and high culture throughout history – that’s
where the best ideas come from sometimes. Many seminal artworks from “the
scene”, as it were, represent much more than what you are seeing at first
glance. As art and cultural critic Carlo McCormick has described the iconic
Shepard Fairey ‘Hope’ image in Art in
America, many graffiti and Street Art works saved are “not a
fleeting pop-culture sensation but simply the latest crossover hit in a long
line of underground classics.”
The wide-ranging survey that is Beyond the Streets makes sure that you know where the roots are, and who many of the pioneers were. It is impossible to tell a complete story that includes scenes as diverse as west coast Chicano muralism, hobo graffiti, hip-hop commercial design, NY downtown artivism, Japanese low/hi contemporary, skateboard, tattoo, early train writing and a current romance with muralism, but BTS at least gives a serious consideration to each and offers you the opportunity to look further into them.
With the help of photography documentation from people like Martha Cooper, Henry Chalfant, Jim Prigoff, Lisa Kahane, Joe Conzo, John Fekner, Bill Daniel, Maripol, and Dash Snow, the crucial importance of this work provides needed interstitial and contextual information that enables myriad stories to be elucidated.
Exhaustive, no. Exhausting, possibly. Pace yourself.
spent my life surrounded by graffiti and Street Art,” says the shows’ director
Roger Gastman “and you could say that I have been obsessed with understanding
the culture, its origins, and its evolution. It’s incredible to me how far it
With 150 artists whose practices span five decades
and various (mainly) American subcultures displayed in a maze of new walls in
this 100,000 sf, two-floor exhibition, the Beyond the Streets senior curatorial
team includes Gastman, filmmaker/ graffiti historian Sacha Jenkins SHR, Juxtapoz
Editor in Chief Evan Pricco, and author/ graffiti historian / graffiti writer David
CHINO Villorente. Each curator brings core competencies and knowledge of the
graffiti scene (Gastman, Jenkins, Villorente) as it has evolved to include the
Street Art practice and an eventual move toward contemporary art (Pricco).
“It’s absolutely phenomenal,” says Villorente, who says his history as
a graffiti writer compounds the impact for him. “I was glad that the show was
coming to New York because I was born and raised in Brooklyn. I couldn’t have
imagined it – especially when I think back on when I was writing on the trains
and doing illegal graffiti. To have of show of this magnitude is really
“We started writing in ’68 and here we are, fifty-one years later,” says Mike 171 as he gestures toward himself and crew writer SJK 171 when talking about how they began and continued writing their tags on the street in New York City. “This is the history right here,” he says, and you know you are about to be schooled about the plain realities of early graffiti writing. At the opening, you witness each guy tagging in a large dusty window here and realize the love for writing never actually stops.
“We were expressing something that was inside of us,” says SJK 171. “The streets were like ours,” he tells you against a backdrop of their work, Cornbread’s work, and of images full of one color, single line monikers that set the stage for the more colorful, character-driven pieces and burners a decade later, transforming trains into a rolling aesthetic symphony by the mid 1970s.
One of the actual “whole car” writers of that period, Lee “LEE” Quinones, here recreates a “Soul Train” car side on a canvas that looks like it could easily wrap an actual MTA #2-line car that he used to slaughter with cans in the middle of the night at the train yard. When describing the new work he said he was intentionally keeping it simple – perhaps owing the style to his earlier practice.
“I think this is one of Lee’s most amazing pieces,” says Charlie Ahearn, the director of the seminal 1982 “Wild Style” film that Quinones stars in. Ahearn self-produced that film which became an important distillation of the merging of graffiti with hip-hop culture during a pivotal moment in the history of both. Now also a professor of Hip-Hop, art, design, and documentary film making at Pace University, Ahearn is familiar with many of the artists work here, many relationships reaching back decades. “I told Lee that I liked that it was a one-off, that he painted all the color straight off without the embellishment, texturing, and all that stuff.”
Charlie’s twin brother John Ahearn is represented here popping out from walls as well, his sculptures serving as authentic portraits of people you may easily have seen on New York streets over the last four decades. Casted directly on top of the people themselves in a technique he has perfected, the placement of the sculptures gives life to the space.
Star Writers, Immersive Environments, Foundations
The individual clusters of work and canvasses by 1970s-80s train painters like Futura, Crash, Lady Pink, Freedom, Carlos Mare, Blade, Haze, and Daze and next gen graphic painters like Doze Green and Rime are complemented by a number of so-called “immersive” spaces here like the Mission Schools’ Barry McGee storefront with smashed window, and the Australian Pop duo Dabs & Myla’s eye candy floral walls with thousands of artificial fauna created in collaboration with Amelia Posada.
The high-profile graphic activist Shepard Fairey’s 30 year career overview takes a large area and encompasses all elements of his street and studio practice, and Bill Barminski’s cardboard home is open for you to explore with a wry smile, remembering the security room installation he did at Banksy’s Dismaland a couple years earlier.
also treated to a full rolling wall of Craig Stecyk posters that brings you the
sun and surf of California skate culture, sculptures by Mr. Cartoon and Risk, a
kid-friendly illustrated room with crafting supplies for young fans on tables
from HuskMitNavn, and an astute freight train culture educational display by
writer/painter/sculptor Tim Conlon (complete with a mid-sized Southern Pacific freight
on train tracks he and friends built), prints/photos by historian Bill Daniel, and
original drawings by the man some call the King of Hobo Art, buZ blurr.
are a self portrait as predicated on a first Bozo Texino person and I kind of
changed the image around,” says Mr. blurr, a legendary figure in denim
overalls, as he patiently describes his classic tag image of a railway cowboy.
is a writer motif – the pipe smoke is going up and then it is trailing back to
signify movement as the train goes down the track,” he says. “I worked in the
train yards and my job was as a brakeman. I had a little free time so I started
making drawings. I made my first one on November 11, 1971,” he says as he
recalls the state of mind that he was in at the time as he began to tag
freights with the image and text that came to him clearly – and may have
perplexed other travellers.
came from a confused state. I was questioning everything. I was putting kind of
cryptic messages under my drawings. It was anybody’s guess as to its literal
interpretation. I addressed some of them up to specific people but whether they
saw them or responded to them, I wouldn’t have any idea.”
it’s shipped in the crate its 550 pounds,” says Conlon as he stands by the 3-foot
high freight car re-creation on tracks and ties that is
hit with a couple of wild and colorful graffiti burners. “Here I’m going to
show you something,” he says as he pulls back the roof to reveal the narrow
coffin interior in rusted red. “So I’m going to hide some beer in here during
the opening party. This is like the fifth one of these I’ve made,” and he proudly
confides that one lives in the house of Robert Downey Jr.
Digging Deep to Take Risks
to rest on laurels and previous formulas of success, the show keeps a freshness
by presenting known entities pushing themselves further and taking creative risks;
a reflection of that spirit of experimentation we have always prized on the
writer Earsnot from Irak crew, now known professionally as Kunle Martin, said
he had been making work for the gallery containing elements of graffiti, but
felt they were too “safe”.
“Then my friend Dan said ‘you should go back to doing drawings,’” he says as he stands before figurative canvasses in black and white on cardboard. “I said ‘I can’t! It’s too hard! But eventually I began working in my studio five days a week, and I made enough for a show.”
Reflective of the attitude of Gastman toward artists in the community, he told Martin that if he made enough of them, he could place them in this show. “I think he was happy to hear that I was in my studio working. He’s been very supportive of it.”
color-drenched graphic/photographic collage style is featured with plenty of
space in large frames from Chicago’s Pose, who says he is letting photography
and geometry lead him away from his previous pop collage style that may have reminded
many of Lichtenstein. His inspiration here comes from his research into early
photos of graffiti writers running from police “I was
obsessed with John Naars photos and I have usually Norman Mailer as in
inspiration. Some of these photo references are from the Philadelphia Inquirer,” he says.
New York’s Eric Haze also dares himself to take a new direction with three canvasses featuring a refracted piecing-together of imagery and memories of this city in monochrome. Based on black and white scenes of the city by photographer and NYC taxi driver Matt Weber, the scenes capture aspects that are culled from imagination and impression. The centerpiece canvas captures an iconic piece of the Williamsburg waterfront that has been removed in the last few years by developers; the signage of the old Domino Sugar factory by the Williamsburg Bridge.
Mr. Haze said he meant it as a gift and tribute to
his wife, actress and longtime resident of the neighborhood, Rosie Perez who
used to see it along Kent Avenue as a kid. “He’s not afraid to take risks. He’s not afraid to go in the
studio and express what’s inside of him. When he brought me to the studio, he
says, ‘I have a surprise for you’,” she remembers. “I saw the beginnings of the
Domino painting and I was stunned into silence and I got teary-eyed.”
An expanded version of the show that first mounted
in Los Angeles last year, the collection is focused a great deal on the
American history of graffiti with a balance of East/West coast graffiti history
– in a way that may remind you of 2011’s “Art in the Streets” at LA MoCA. That
makes sense, considering Gastman co-curated that show as well.
“It’s both a historical and current look at where
the culture went and where it started and how widespread it is,” says
co-curator Evan Pricco, who perhaps provides a lynchpin view toward the big
name Street Artists who continued to push expectations in the 2000’s on streets
and in commercial galleries around the world. “With the space spread over two
floors it has a way better curatorial sense. I also think it does compete with
museums because it shows that this kind of work is on the same level. You kind
of have to present it in a way that feels very institutional and archival.”
So is Beyond the Streets
a graffiti show or a Street Art show or a contemporary art show? For artist
Kenny Scharf, who first gained attention during the heyday of Downtown
Manhattan’s art scene that benefitted from an interlude where rents were dirt
cheap and Wall Street was on a cocaine high, there is no need to categorize
what kind of art this is.
“You know I never liked labels or titles anyway so
even back in the early 80s I was pegged like ‘oh you’re a graffiti artist,’” he
says. “People feel the need to title and label so I’ll
let them to continue to do that but I don’t fit into any of them and I don’t
want to. I want to fit into all of them and none of them.”
Streets opened June 21 and continues through the summer.
Martha Cooper’s work as exhibited at Beyond The Streets New York
Beyond The Streets NYC is now open in Williamsburg, Brooklyn to the general public and will run until August 2019. Click HERE for schedules, tickets and details.
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.
Gastman’s Massive Graffiti and Street Art Show Arrives at Epicenter.
“I’m really excited to bring this show to New York,” says curator, graffiti historian and urban anthropologist Roger Gastman, “because the city plays such a pivotal role in the origin and evolution of the culture. The iconic images of covered subway cars made graffiti famous worldwide.”
He’s talking of course about “Beyond The Streets” the hybrid exhibition that he mounted in LA last year featuring the work of 150 who have proved to be pivotal to the evolution of a fifty year global people’s art movement that includes graffiti, street art, and urban contemporary art. Filling over 100,000 square feet of new space in Brooklyn, this two-floor cross-section survey will feature artworks by many of the same vandals, graffiti writers, Street Artists, and art activists who hit NYC streets, created dialogue with passersby, and were sometimes chased by the authorities. To see them showcased here is to recognize that there is not just one route to take – in fact there are many.
“We have an incredible roster of artists for New York,” Gastman tells us, “and a brand new space in Williamsburg that has a stunning view of the Manhattan skyline as our backdrop.” Notably the lineup includes artists whose work BSA has documented on the streets in this very same neighborhood over the past two decades, including Shepard Fairey, Faile, Swoon, Bast, Invader, Aiko, and others. Ironically the appearance of free-range Street Art in the neighborhood has been seriously diminished since that time.
The exhibition is one more verification that a significant portion of the scene is being widely recognized for its cultural contribution and value in the contemporary art canon – a significantly fluid scene fueled by discontent and a desire to short-circuit the established routes to audience appreciation. Like large survey shows elsewhere, the takeaway is the significant impact street culture and its tangential subcultures continues to have on the culture at large.
Gastman says the New York version of “Beyond The Streets” will take an
additional interest at the role of music and art activism on the street, along
with immersive installations, a tattoo parlor, a special Beastie Boys
installation with artifacts and ephemera, a new 30th Anniversary
Shepard Fairey project “Facing The Giant: 3 Decades of Dissent,” and large
scale works by Gorilla Girls, Futura, Cleon Peterson, and Takashi
More news coming on programming and events, but the important opening date to know right now is June 21st.
“All in all, it will make for a really special show this Summer,” says Gastman.
BEYOND THE STREETS TEAM
Curator: Roger Gastman
Co-Curators: Sacha Jenkins SHR, Evan Pricco, David CHINO Villorente
A-ONE, AIKO, Al Diaz, Alexis Ross, Alicia McCarthy, André Saraiva, Barry McGee, BAST, Beastie Boys, Bert Krak, Bill Barminski, Bill Daniel, BLADE, Broken Fingaz, Buddy Esquire, buZ blurr, Carlos Mare, Carl Weston, Cey Adams, C.R. Stecyk III, Charlie Ahearn, Chaz Bojórquez, Claudia Gold, Cleon Peterson, COCO 144, Conor Harrington, Corita Kent, Craig Costello, CRASH, DABSMYLA, Dan Witz, Dash Snow, DAZE, DEFER, Dennis Hopper, Dondi White, Doze Green, EARSNOT, Estevan Oriol, Fab 5 Freddy, FAILE, Faith XLVII, Felipe Pantone, FREEDOM, FUTURA 2000, Gajin Fujita, Glen E. Friedman, Gordon Matta-Clark, Guerrilla Girls, HAZE, Henry Chalfant, Herb Migdoll, Husk Mit Navn, INVADER, Jane Dickson, Jason REVOK, Jean-Michel Basquiat, Jenny Holzer, Jim Prigoff, John Ahearn, John Fekner, John Tsombikos, Joe Conzo, José Parlá, KATS, KC Ortiz, Keith Haring, Kenny Scharf, Kilroy Was Here, LADY PINK, LAZAR, LEE Quiñones, Lisa Kahane, MADSAKI, Maripol, Mark Gonzales, Mark Mothersbaugh, Martha Cooper, Matt Weber, Maya Hayuk, Michael Lawrence, MIKE 171, MISS 17, Mister CARTOON, Nina Chanel Abney, NOC 167, Pat Riot, Patrick Martinez, Paul Insect, POSE, PRAY, Rammellzee, Randall Harrington, RETNA, Richard Colman, Richard Hambleton, RIME, RISK, Ron English, Ruby Neri, SABER, Sam Friedman, SANESMITH, Sayre Gomez, Shepard Fairey, SJK 171, SLICK, SNAKE 1, SNIPE1, STAY HIGH 149, Stephen Powers, SWOON, Takashi Murakami, TAKI 183, TATS CRU, TENGAone, Tim Conlon, Timothy Curtis, Todd James, Trash Records, UGA, VHILS, and ZESER
The show is developed in partnership with Adidas and Perrier. Additional support provided by Modernica, Montana Colors, NPR, NTWRK, Twenty Five Kent and WNYC.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. Wall Writers: Graffiti in its Innocence
2. Pixel Pancho: “Teseo e il Minotauro” in Rome
3. Read The Label: Blood, Sweat and Years.
BSA Special Feature: Wall Writers: Graffiti in its Innocence
The depth of scholarship and research that Roger Gastman puts into graffiti history is only exceeded by his passion for the people and the culture that coalesced in the neighborhoods and streets of Philadelphia and New York in the genesis story of Wall Writers: Graffiti in its Innocence. He opens the doors to people who until now have been hidden and difficult to reach, and gives them an opportunity to tell the story of their lives then and how crucial the graffiti scene was to their experience of the city. He also examines the impact their work had on spurring the first of various art-in-the-streets scenes that evolved afterword.
Currently on tour for the 350 page tome and the documentary film, Gastman is bringing some of these original writers to cities to meet you, and possibly you may see the film’s narrator, Mr. John Waters.
In a city steeped in art history where every camera shot looks like a classic movie scene you have to be cognizant of the critical analysis that will be directed at your new mural from every Giovanni, Adriana, and Luca who are walking by or hanging out of the window. These are the countrymen and women of Pixelpancho so he takes it all into consideration and presents a classic of his own, merged with a steam-punked futurism of robots who are rather romantic in their own way.
A full length film about graffiti and skateboarding from this moment – a collection of skate, graff, rap, beatz, cops, vandalism, illegal mark-making, and legal murals that tells a story as seen by people who do it. How much is documentary and how much is fiction? Well, there probably wasn’t a soundtrack like this accompanying all of the original scenes, that’s for sure.
Under cover of night Street Artist Anthony Lister just monkeyed around with some cans on a wall in LA to do his own interpretation of “Rise of the Planet of the Apes”. The wall on Melrose is on the building “De La Barracuda”, “a well known wall that gets a lot of Street Artists on it,” remarks photographer Birdman. Mr. Lister says he likes the job because it gives him a challenge. As you can see, he’s an excellent choice by wall producer Roger Gastman to interpret this modern jungle scene; a story with enough psychological layers and undertones to make any social scientist go apesh*t.
Five stars to photographer Birdman for showing these cool shots for BSA readers.