Behind the scenes at “Beyond the Streets London” is a hive of activity, with artists deeply focused on installing their work and seeking assistance with tools and equipment. Curators, organizers, and lighting professionals are bustling up and down the stairs, carrying props, or ladders, and communicating with vendors and artists via text message. Salespeople are diligently crafting wall texts to accompany the art pieces. It’s a few hours before showtime, yet everything is somehow accomplished just as the first guests arrive for the preview.
Photographer Martha Cooper is electrified by the activity at Saatchi Gallery. The event preserves the rich history of graffiti, street art, and commerce while pushing forward with new trends and directions. Cooper, who has documented this scene since the 1970s, has attended and exhibited in “Beyond the Streets” exhibitions in New York and Los Angeles – and we anticipate the next stop could be Shanghai. This particular iteration showcases an evolving mix of archetypes and invention, drawing on diverse influences from the US, UK, and EU.
Cooper observed many surprising music references at the show. Rock icon Eric Clapton was at the opening admiring a photograph of text declaring him to be God while filmmaker, musician, and BBC radio host Don Letts had a personal collection of his memorabilia/ephemera on display. Ron West, designer of the “Duck Rock” boombox, also made a sudden appearance at the opening, allowing guests to pose with his creation. Among the standout pieces was a Bob Gruen photo of Malcolm McLaren holding that boombox in front of Keith Haring’s Houston Street wall, a masterpiece of intersectionality, if you will.
Overall, “Beyond the Streets London” offers a smorgasbord of colors, flavors, and influences that are difficult to encapsulate in one show. However, Gastman, the visionary, gives it a good try, with a respectful nod to the many artists who have shaped this worldwide people’s art movement. Enjoy these behind-the-scenes shots from Ms. Cooper.
Calligraffiti pioneer Niels “Shoe” Meulman tells us that he’s been having a great time during the opening of Beyond the Streets in London, where he is showing some new work that meditates on his path and represents this moment in his evolution. The unruly and elegant Dutch contemporary artist, designer, and calligrapher says that seeing his peers and heroes in person and on display in the exhibition reminds him of why he fell in love with graffiti in the 1980s.
Now principally a painter, Shoe continues in calligraphy and design and even teaches, but to get him excited here at the opening, show him what appears to be a precise replica of the “Duck Rock” boombox carried by Malcolm McLaren in front of Keith Harings’ wall on Houston Street in the 80s. Featured on the album cover of the same name in 1983, the artwork was designed by style writing master Dondi and designer Nick Egan against a backdrop by Haring. It’s a perfect nexus point for this prominent figure in the world of urban art and design – a point he doubles down on by rolling up his shirt sleeve to show you his bicep tattooed with a wild-styled “Duck Rock.”
We asked Shoe to tell us about his three-year triptych presented here at Beyond the Streets in London’s Saatchi Gallery, and he took us on a trip through his own memories and experiences to arrive at this moment.
“As far back as I can remember, I always wanted to be an artist. Even though I didn’t see graffiti as an art form in the beginning. I mean, all the kids were writing some kind of sobriquet in 1980’s Amsterdam and –apart from Dr. Rat (1960-1981) and friends– there wasn’t much artistic going on. Until I saw what they were doing on New York subway cars, and later in museums and galleries.
When Dondi (1961-1998) and I were hanging out in Amsterdam in 1984, I proudly told him, my mentor, that I was going to drop out of school to study graphic art. There, I was just in time to learn many obsolete graphic techniques. One of them was metal typesetting (letterpress) with its typical case; a big, undeep wooden drawer with compartments for each glyph of the alphabet, cast in lead. Every size would have been cut by hand, in reverse. It was real easy to mix up the d, b, q and p.
Ever since those early days of writing graffiti, I always felt that what we were doing was part of something much bigger. Something old and dirty, as Ol’ Dirty Bastard (1968-2004) would later tell us. Maybe it was because of the teachings of my other mentor, the iconoclast Rammellzee (1960-2010) who stated in his rhymes with Gregorian chants that what we were doing started in Medieval catacombs.
Before Gutenberg invented his wood block printing press, which lead to this moveable type setting, books were being copied by hand by monks, who I see as the graffiti writers of their age. Just like us, they were traveling with books, comparing handstyles, driven by competition and togetherness. But of course writing itself is much older than that. The oldest cave drawings (mostly done by women, recent research shows) were the beginning of letters. The letter ‘A’ derives from the sound and drawing of an ox. Letters have figurative origins. Words are images. Writing is painting.
I feel connected to all of this and very excited to see where writing culture will go in the future. Already so much has happened. For instance when I first named my work Calligraffiti in 2005, I never imagined that it would become the world wide art form it is now. And whether is was in caves, catacombs or the subway systems, the culture began under ground and is having a peek above ground. My piece for Beyond the Streets is about that.”
Artist: Niels Shoe Meulman Title: WRITING IS PAINTING AND PRINTING
A triptych consisting of three pieces:
Title: THE INVENTION OF WRITING MARKS THE END OF PREHISTORY year: 2021 medium: acrylic and ink on linen size: ± 400 x 280 cm (± 13 x 9 feet)
Title: FROM PAINTING TO PRINTING AND BACK AGAIN year: 2022 medium: acrylic and spray paint on ten stretched cotton canvases size (total): ± 160 x 160 cm (± 63 x 63 inch)
Title: UNAMBIDEXTROUS LETTER R year: 2023 medium: stone lithography print on handmade Japanese paper size: ± 32 x 43 cm (± 12.5 x 17 inch)
Beyond The Streets – London is open for the general public at Saatchi Gallery and tickets are available now for booking through saatchigallery.com/tickets
It’s that time of the year again! Our 12th “Hot List” of books – a best-of collection that is highly personal and unscientific and sure to provide you with ideas.
Our interests and network continued to spread far afield this year, and we chose a cross-section of books that are well worth your time – whether it’s the stories they tell or the quality of the stock or the revelation of seeing images previously unseen except by a handful of people. We have political, personal, and professional takes on this beautiful street art scene, as well as a careful instruction book on how to make your own
So here is a short list from 2022 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.
STRAAT: Quote from the Streets. Lannoo Publishers.
From BSA:
In a space massive enough for a Dutch sea vessel, the Street Art Museum of Amsterdam (STRAAT) has one of the largest collections of today’s mural stars anywhere. During its official maiden voyage, curious street art/graffiti/contemporary art fans look to see if this ship is seaworthy. The brainchild of former graffiti writer, curator, and publisher Peter Ernst Coolen in the early 2010s, the D.N.A. of the museum is rooted in his forward vision as much as the ideal waterfront warehouse that showcases close to 200 international artists.
The human-built city has at times been called a jungle, but the concrete and steel environment flatters itself if it really thinks so. The intelligence and beauty present in the natural plant world far outstrips our modern cityscape, centuries after its origination. At least a few artists have been bringing it back to us in murals over the last few years, introducing a calm, lyrical serenity that dives way beneath the conscious, touching our roots.
The young Italian painter Fabio Petani has been reintroducing a natural agenda to cities across Europe for less than a decade – in a way that only a scientist, botanist, and naturalist with a design sensibility could. What is genuinely original is his subtle re-interpretation of the formal conventions of botany, introducing them to a modern urban audience without lecturing – and rising far beyond purely
Fabio Petani “Spagyria Urbana”. Torino, Italy. 2021. Texts by Alessandra Loale. Layout by Livio Ninni with translation by Mauro Italianodecorative presentations.
An updated version of his initial “Stay Melty” collection a half dozen years ago, street artist Buff Monster expands and shares with you more of his studio production, paintings, sculptures, murals, and ever-growing industry of collectibles in this photo book, a candy-coated volume of eccentricities that capture this moment in an artist’s evolution.
Carlo McCormick’s original text perseveres here as well, most possibly because it still captures so much of the dedicated madness that is Buff, afloat upon the detritus that demarcates our late capitalism era in dirty old New York. McCormick sagely comments on Buff’s take on “a realm of magical thinking in a contemporary visual culture where a few rare artists like Buff Monster can invoke alternate realities as palpably believable and emotionally transformative.”
Poet, urban author, photographer, and longtime NYC messenger Kurt Boone was there too, camera in hand and ready to record the action of the artists getting up on walls and meeting the public. Kurt throws himself into the scene and knows how to navigate while people are enjoying the atmosphere of creativity all around. With his knowledge of the street capturing graffiti, urban cycling, street photography, skateboarding, and busking, you know that his shots are on point.
Instead of uploading everything to a social media platform, Boone asked his friend Anthony Firetto to help lay out his photos to create a book. This is a genuine work of the heart – a self-published hefty book that captures a moment in time, the various players and styles, and a flashpoint in the development of Jersey City as it continues to change.
The political caricature is a treasured form of public discourse that still holds as much power as it did when we relied on the printing press. Able to express sentiment and opinion without uttering a syllable, the artist can sway the direction of conversation with skill, insight, and humor. Artist Robbie Conal has built a career from visually roasting the most sebaceous of our various leaders in the last few decades, often bringing his posters to the street and installing them in advertisers’ wildposting manner.
With the briefest of texts, slogans, or twisted nicknames, he reveals the underbelly as a face, dropping expectations into the sewer. If it were as simple as a political party, one might try to dismiss his work as only partisan. But Conal’s work functions more as an ex-ray, and frequently the resulting scan finds cancer.
ROBBIE CONAL / STREETWISE. 35 YEARS OF POLITICALLY CHARGED GUERRILLA ART. By G. James Daichendt. With a foreword by Shepard Fairey. Published by Schiffer Publishing LTD. Atglen, PA
Page after page of golden NYC hits from the Martha Cooper archive; this new hardcover tome expands the galaxy for fans and academics of that amber-soaked period when it seemed like New York was leading a Spray Nation of graffiti for cities across the country. Known for her ability to capture graffiti writers’ work in its original urban context, Ms. Cooper once again proves that her reputation as the documentarian of an underground/overground aesthetics scene is no joke.
With an academics’ respect for the work, the practice, and the practitioners, Cooper recorded volumes of images methodically for history – and your appreciation. With the vibrant and sometimes vicious city framing their pieces, an uncounted legion of aerosol-wielding street players raced city-wide at top speed, ducking cops and cavorting with a confident abandon in the rusted and screeching steel cityscape. By capturing these scenes without unnecessary editorializing, Cooper gives you access to the organically chaotic graffiti subculture on the move at that moment – directly through her unflinching eyes.
Martha Cooper: Spray Nation. Signed Limited Edtion Box Set is published by Beyond The Streets. With a foreword by Roger Gastman and essays by Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
One of the exciting book releases this fall drops today in stores across the country – which is appropriate with a name like Spray Nation.
The centerpiece of the complete boxed set released this spring, this thick brick of graffiti tricks will end up on as many shelves as Subway Art; the book of Genesis that prepared everyone for the global scene of graffiti and street art that would unveil itself for decades afterward. See our review from earlier in the year, and sample some of the stunning spreads here, along with quotes by the book’s essay writers, Roger Gastman, Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
Robert Proch: Sketches 2003-2018
From BSA:
“ROBERT PROCH – SKETCHES” : a collection of all the preserved drawings and sketches created by the artist in the years 2003-2018.
We had the opportunity to hang around with artist Robert Proch in 2015 at the No Limit festival in Boras, Sweden. Unassuming and bright, the artist was creating a painting on a massive wall that seemed to us to be insurmountable. He excitedly and with great ease jumped on the cherry picker and dove into the explosion he had sketched – pouring color and gesture into his futurist composition, bending and twisting the axis, capturing the flying energy and elements that appeared to jump off toward the viewer.
Later at dinner in a private home, it was a pleasure to speak with him. A warm, polite, and thoughtful guy – you would not necessarily know that his internal art view was so expansive, except to see his darting eyes perhaps, which didn’t appear to miss anything.
Robert Proch. “Sketches 2003-2018”. Robert Proch Foundation
You hope for it, but nothing is guaranteed. Transitioning from being an artist with a respected, lauded practice of graffiti/street art to a booming professional career on canvas is not a clearly defined route. Although many have tried, are trying right now.
What does it take, you ask? A potent mix of talent, luck, fortitude, applied effort, guts, and a willingness to change one’s approach if necessary, as necessary. In our experience, the last item proves to be the most challenging.
Yo, but Mad C is mad talented.
She’s made it a dedication to studying and learning the craft, fine-tuning the skills, practicing, perfecting, and persevering. All of those qualities will give you a great measure of personal satisfaction even when it doesn’t land you a big bank balance. In the case of MadC, internalizing the practices and codes of graffiti that originated with the 1960s/70s graffiti writers was core – imprinted her creative DNA forever – even though her first attempt to write was not until 1995 in Germany.
Color-blocked basketball courts appreciated from a plane, cheerful abstract murals for restaurants, hotels, and cafes, and massive wood collages comprised of assembled pieces that are each finished before joining. What do these expressions of artist Scott Albrecht have to do with one another? If you study the patterns, in time, you will see.
A handsome cloth-covered hardcopy of works by the Gowanus, Brooklyn-based public/studio artist presents a selection of works from 2017-21 that have a rational color theory, smoothly dynamic geometries, and a soothing certitude in their complexity. Spotlighting public art projects, studio processes, exhibitions in New York and LA, and his residency at Hyland Mather’s place in Portugal, the collection is refined yet human.
The Paris-based stencil artist C215 learned his skills in the street and in the studio beginning in the mid-2000s after being influenced by the burgeoning practice in the street art scene of Barcelona and recognizing the practitioners in his home in Paris. Within a few short years, he was watching the evolution of all his peers – and even curating their work into shows. You can see many styles and techniques by surveying the field, and you’ll decide whose work is a cut above.
“The book that you are holding in your hands is, therefore, a manual, an inventory of techniques to be appropriated in order to get yourself started in the art or to help you develop stenciling’s potential. Stencils have no limits and can be adapted to all styles,” says the author in his introduction.
C215 – The Stencil Graffiti Manual. Schiffer Publishing 2022
A new book here features six years of selected works from a Polish graffiti writer, muralist, and professor of art and painting at a secondary school in his hometown of Olsztyn, Poland. He reckons that his life is one of ‘Planned Freestyle,’ meaning that having structure imposed upon him is very helpful in focusing his creative mind. You may quickly appreciate this characterization if you know any artists.
The collection of selected works here by Bartek Swiatecki is as luminous and optically rewarding to the viewer as they are opaque to the mind and stirring to the heart. With prolific and gently evolving abstractions in movement, you can see an artist at work, at play, and at his personal best – topping his previous work. The grandson of another painter and professor (of philology), Miroslaw Swiatecki, and the nephew of a famous painter and animator, Marek Swiatecki, perhaps it was only a matter of time before this 90s graffiti writer moved into more formal practices on canvas and walls.
As we prepare to celebrate 15 years of daily publishing stories and insights about street artists from around the world here on BSA, you’ll know that there are some whose work has merited hours of writing and photography much more than others – perhaps because we first knew her work here in our neighborhood of Brooklyn long before we began this site. Following her through almost every iteration and project, we’ve interviewed her on many stages and in her studio as she continues to unfold, self-examine, recognize the damage, heal herself, give to others, and create on the street, in the studio, gallery, museum, and now on screen.
For her second bound monogram, Caledonia Curry, AKA Swoon, reviews her path as a collection of psychological and emotional journeys, or perhaps one all-encompassing voyage with concurrents and tributaries running alongside and underneath. Whether she is showing you her early work on the streets here or in Italy at a festival called FAME, her Konbit Shelter days, her Braddock Project with the church in Pennsylvania, her Perly’s Beauty Shop, her epic installations at Jeffrey Deitch, LA MOCA in Los Angeles, ICA in Boston, the Brooklyn Museum, or DIA in Detroit, we’ve reported to you on them all – so you have an idea where this new book The Red Skein will take you. It is great to see the memories and the people all pulled together here cohesively and to understand the skeins that all weave together loosely and tightly.
SWOON: The Red Skein. DRAGO Publisher. Rome, Italy. 2022
It’s time for Street Art and graffiti fans of all flavors to make their annual peregrination to that Mecca of murals and art fairs and performances on the street, Miami, during Art Basel.
Specifically, we constantly roam through Wynwood, which began with a very healthy graffiti scene a couple of decades ago. Now people of all kinds roam the streets here to see newly commissioned and uncommissioned works commingle.
We also include a list of the official art fairs to hit below. Expect to hear Bad Bunny on the streets, see a lot of hot pink fashion, and New York’s Chainsmokers at LIV this weekend.
Smell the aerosol, the tacos, and lather on the coconut sunscreen – and be ready to mingle with some of the best this gritty commercial and the still organic street scene offer.
WYNWOOD WALLS
Click HERE for further information, schedules and tickets.
MUSEUM OF GRAFFITI
Click HERE for further information, schedules and tickets.
SCOPE ART FAIR
SCOPE HIGHLIGHTS BELOW: Click HERE for further information, schedules and tickets.
ART BASEL
Click HERE for further information, schedules and tickets. Below are highlights from the list of participating galleries:
One of the exciting book releases this fall drops today in stores across the country – which is appropriate with a name like Spray Nation.
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
The centerpiece of the complete boxed set released this spring, this thick brick of graffiti tricks will end up on as many shelves as Subway Art; the book of Genesis that prepared everyone for the global scene of graffiti and street art that would unveil itself for decades afterward. See our review from earlier in the year, and sample some of the stunning spreads here, along with quotes by the book’s essay writers, Roger Gastman, Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
“Culled from thousands of her Kodachrome slides from the early 1980s, the celebrated photographer and ethnologist worked with American graffiti historian Roger Gastman over many months during the initial Covid period to select this rich collection of images of tags, walls, and pieces. Each turn of the page more profoundly deepens your understanding of the graffiti-writing culture Cooper captured with Henry Chalfant in their book Subway Art nearly forty years ago. That clarion call to a worldwide audience took years to reverberate and shake culture everywhere. With time that book became the standard root documentation for what many see as the largest global democratic people’s art movement in history.”
“To create Spray Nation, Cooper, and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to portraits, action shots, walls, and painted subway cars. They are accompanied by heartfelt essays celebrating Cooper’s drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever.”
~ Prestel Publishing
“Martha’s photos have backed up graffiti writers’ tall tales more times than I can count. They’re like this crazy high school yearbook. As a result, Cooper is who every graffiti writer, fan, collector, and researcher wants to come and see. Most of them have not had the privilege of going to her studio and seeing the great amount of work she has amassed over the years – it’s truly awe inspiring. But every so often she pulls out yet another gem where we all scratch our heads and think, “Oh shit, what else is Martha holding?”
Roger Gastman, from the Foreward of Spray Nation
“‘If you want to publish your work, you cannot be ahead of or behind your time,’ she says as she reflects on an impeccable sense for capturing the birth of scenes like graffiti, hip-hop, and b-boying. ‘I was lucky to be at the right place and time.’”
“Martha is heralded today for capturing those trains and scenes along with Henry Chalfant in the seminal graffiti holy book Subwav Art, but few appreciate how painfully ahead of their time they were at that point.”
~ Steven P. Harrington, from Who is Martha Cooper?
“With a single snap of the shutter, Martha Cooper captured the searing rush of seeing a whole car make its debut on the line after being painted all night. You can all but hear the train thunder along the tracks and feel the ground rumble beneath your feet while a gust of wind hits your face. Is that the smell of spray paint?”
~ Miss Rosen, from Better Living Through Graffiti
“Martha took pictures of painted trains and b-boys because few bothered to at that time. Once people caught on, she considered her task completed. Martha followed the paint trail as it rose above ground. QUiK and IZ on the streets with Scharf and Hambleton. Madonna clubbing with Basquiat, Patti Astor with DONDI and FAB 5 FREDDY. Subway graffiti gradually died, street art rising from its ashes. Disinterest, drugs and AIDS decimated NYC’s cultural apex, its brightest stars perishing before their work hit the seven-figure mark – lives as ephemeral as our pieces on the train. These fleeting moments of births, peaks, and deaths live in perpetuity thanks to the foresight of Martha Cooper and a handful of others who tracked cool’s scent like underground bloodhounds.”
Jayson Edlin, from Peter Pan Haircut
“In a sense, Cooper’s photography picks up on the New Documentary approach of the early 1970s, in which independent photographers such as Larry Clark, Susan Meiselas, Jill Freedman, Mary Ellen Mark, and Danny Lyon recorded insider’s views of various closed societies of outsiders, social groups and “others” shoved aside by postwar American society in thrall to consumerism. The alienated drug users, prisoners, bikers, and prostitutes that those photographers lived among and depicted were largely invisible and had been further marginalized in America by class, race and gender prejudices. In a similar vein, Cooper sought to expose and legitimize the young subway writers as earnest and mildly rebellious artists with a purpose and a rational aesthetic agenda, rather than as the lawless urban vandals the police and the media sought to represent.”
~ Brian Wallis, from Graffiti As The People’s Art Form
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
Subway Art on Steroids: Spray Nation Sorts Through Mountains of Kodachromes
Spray Nation by Martha Cooper and Roger Gastman, with a foreword by Roger Gastman and essays by Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
Page after page of golden NYC hits from the Martha Cooper archive; this new hardcover tome expands the galaxy for fans and academics of that amber-soaked period when it seemed like New York was leading a Spray Nation of graffiti for cities across the country. Known for her ability to capture graffiti writers’ work in its original urban context, Ms. Cooper once again proves that her reputation as the documentarian of an underground/overground aesthetics scene is no joke.
With an academics’ respect for the work, the practice, and the practitioners, Cooper recorded volumes of images methodically for history – and your appreciation. With the vibrant and sometimes vicious city framing their pieces, an uncounted legion of aerosol-wielding street players raced city-wide at top speed, ducking cops and cavorting with a confident abandon in the rusted and screeching steel cityscape. By capturing these scenes without unnecessary editorializing, Cooper gives you access to the organically chaotic graffiti subculture on the move at that moment – directly through her unflinching eyes.
Martha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger Gastman
Culled from thousands of her Kodachrome slides from the early 1980s, the celebrated photographer and ethnologist worked with American graffiti historian Roger Gastman over many months during the initial Covid period to select this rich collection of images of tags, walls, and pieces. Each turn of the page more profoundly deepens your understanding of the graffiti-writing culture Cooper captured with Henry Chalfant in their book Subway Art nearly forty years ago. That clarion call to a worldwide audience took years to reverberate and shake culture everywhere. With time that book became the standard root documentation for what many see as the largest global democratic people’s art movement in history.
A smartly laid-out and thick volume (as well as its “Outtakes” collection), the high-quality printing and spare design hew to the photographer’s reliably straightforward approach, preferring to let the photos tell the story. From this perspective, Spray Nation is likewise a sleeper; We’ll probably only wholly appreciate its pivotal value and cultural importance with time.
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Martha Cooper: Spray Nation. Signed Limited Edtion Box Set is published by Beyond The Streets. With a foreword by Roger Gastman and essays by Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis. Click HERE to purchase the book.
It’s that time of the year again! BSA has been publishing our “Hot Lists” and best-of collections for more than 11 years every December.
Our interests and understanding and network of connections continued to spread far afield this year, and you probably can tell it just by the books we featured: stickers, illustration, murals, copyright law, a cross-country spraycation, anamorphic street installation, Hip-Hop photography, graffiti writers community, and a lockdown project that kept an artists sanity.
So here is a short list from 2021 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.
Leon Keer: “Break Glass In Case Of Lost Childhood”
From BSA:
One of the challenges in creating a book about anamorphic art is presenting images that tell the viewer that they are being tricked by perspective yet hold onto the magic that this unique art conjures in people who walk by it on the street.
In a way, that brass skeleton key that allows entry into another world is precisely what Dutch pop-surrealist artist Leon Keer has been seeking for decades to evoke in viewers’ heads and hearts. Some would argue he is preeminently such; certainly, he is the wizard whose work on walls and streets has triggered memories for thousands of children and ex-children of the fantastic worlds they have visited.
“You develop your senses all your life. Through what you experience, you involve affinities and aversions,” he says in his first comprehensive bound collection of gorgeous plates entitled In Case of Lost Childhood Break Glass. “Your memories shape the way you look at the world. When it comes to reflecting my thoughts, my memories are key. I needed to feel some kind of affection or remorse towards the object or situation I want to paint.”
Street Art Today 2 by Bjorn Van Poucke: An Update on 50 “Most Relevant” Artists
From BSA:
A worthy companion to the original tome, Bjørn Van Poucke and Lanoo publishers extend the hitlist of favored muralists that he & Elise Luong began in Street art/ Today 1 – and the collection is updated perhaps with the perceived cultural capital many of these artists have garnered since then.
Replete with full-color plates from the artists’ own collections and garnished with brief overviews of their histories, creative background, and philosophies, the well-designed and modern layout functions as an introduction for those unfamiliar with the wide variety of artworks that are currently spread across city walls as large scale opus artworks in public space. As organizer and curator of The Crystal Ship mural festival in Oostende, Belgium, Mr. Van Poucke has had his pick of the litter and has showcased them during the late twenty-teens.
A new illustrated tome capturing the black and white work of one-half of Ukraine’s mural painting duo Interesni Kazki welcomes you into the past wonders and future imaginings of a world framed in “Phantasmagoria.”
Full of monochromatic fantasies at least partially inspired by the worlds unleashed by Belgian inventor and physicist Étienne-Gaspard “Robertson” Robert, Waone’s own interior expanding fantascope of miss-appended demons, dragon slayers, riddle-speaking botanicals, and mythological heroes may borrow as deeply from his father’s Soviet natural science magazines that brimmed with hand-painted illustrations – which served as his education and entertainment as a child.
This book, the first of two volumes of graphic works, explores Waone’s move from the street into the studio, from full color into black and white, from aerosol and brush to etching, lithography, augmented reality, and sculpting.
“Closed (In) for Inventory”: FKDL Makes the Most of His Confinement, 10 Items at a Time
From BSA:
The world is slowly making movements toward the door as if to go outside and begin living again in a manner to which we had been accustomed before COVID made many of us become shut-ins. Parisian street artist FKDL was no exception, afraid for his health. However, he does have a very attractively feathered nest, so he made the best of his time creating.
“March 17, 2020, the unprecedented experience of confinement begins in France,” writes Camille Berthelot in the introduction to Closed (in) for Inventory, “Time that usually goes so fast turns into a space of freedom, and everyone has the leisure or the obligation to devote himself to the unexpected.”
FKDL quickly began a project daily, sorting and assembling 10 items and photographing them. He posted them to his Instagram by mid-day. Eventually, he saved the photographed compositions together and created this book.
“My duty of tidying up and sorting out turned into a daily challenge. I dove like a child into the big toybox my apartment is to select and share my strange objects, my banalities, my memories, my creations, and those of others,” he writes. “I gather these treasures, valuables or not, in search of harmony of subject, forms, materials, and nuances.”
The street sticker, be it ever so humble and diminutive, is profligate and sometimes even inspiring. An amalgamated scene that is anonymous, yet curiously stuck together, the organizers and sponsors of so-called sticker jams have been overwhelmed in recent years by thousands of participants.
Artist and organizer IWILLNOT has compiled, organized, archived, and preserved this collection as a ‘field guide,’ he says, and another artist named Cheer Up has laid out page after page. It is a global cross-sample from 60 countries and a thousand artists – a treasure trove of the witty, insightful, snotty, and sometimes antisocial street bards of the moment, seizing their moment to speak and mark territory.
A year after its close, we open the book on American street artist MOMO’s new book chronicling the exhibition “Parting Line.” Writing about and covering his work for 15 years or so, we’re always pleased to see where his path has led – never surprised but always pleased with his evolution of decoding the lines, textures, practices, serendipity of discoveries unearthed by this wandering interrogator.
Here, along the river Seine banks, we see his exhibition for the still young Hangar 107, the recently inaugurated Center For Contemporary Art in Rouen, France. While we think of his work in New York in the 2000s, we see the steady progression here – his cloud washes, raking patterns, his experimental, experiential zeal. This is the spirit of DIY that we first fell in love with, the lust for uncovering and the desire for making marks unlike others across the cityscape, quizzically folding and unfolding, pulling the string, drawing the line.
“Born In The Bronx” Expanded: Joe Conzo’s Intuitive Eye on Early Hip Hop
From BSA:
Born in the Bronx: A Visual Record of the Early Days of Hip Hop
Yes, Yes, Y’all, it’s been a decade since this volume, “Born in the Bronx,” was released. The images here by photographer Joe Conzo seem even more deeply soaked in the amber light of early Hip Hop culture from the late 1970s and early 80s, now taking on a deepened sense of the historical.
As the city and the original players of this story have evolved through the decades that followed the nascent Hip Hop era, it’s clearer than ever that this was nothing less than a full-force eruption, a revelation that cracked and shook and rocket-fueled an entire culture. Thanks to Conzo it was captured and preserved, not likely to be repeated.
Born in the Bronx is full of gems, insider observations, interviews, and personal hand-drawn artworks. One critical cornerstone is a timeline from Jeff Chang that begins in 1963 as the boastful but failed Urban Planner Robert Moses constructed the Cross Bronx Expressway – painfully destroying and displacing people and families, severing culturally significant, vibrant areas of the borough and producing a dangerous malaise.
Enrico Bonadio is a contributor to BSA Writer’s Bench OpEd column, he is a Reader in Intellectual Property Law at City, University of London, and a street and graffiti art aficionado. His current research agenda focuses on the legal protection of non-conventional forms of creativity. He recently edited the Cambridge Handbook of Copyright in Street Art and Graffiti (Cambridge University Press 2019) and Non-Conventional Copyright – Do New and Atypical Works Deserve Protection? (Elgar 2018). He is currently working on his monograph Penetration of Copyright into Street Art and Graffiti Sub-Cultures (Brill, expected 2022).
Enrico is a Member of the Editorial Board of the NUART Journal, which publishes provocative and critical writings on a range of topics relating to street art practice and urban art cultures.
His academic research has been covered by CNN, Wall Street Journal, Bloomberg, BBC, Washington Post, The New York Times, Financial Times. Reuters, The Guardian, The Times, Independent, and The Conversation, amongst other media outlets.
A “Gentle People” Aussie Tour: Paint, Fun, and Run with 1UP & Olf
From BSA:
It’s almost sublimely subversive to publish your illegal graffiti escapades in a handsomely bound photo book with creamy paper stock and gauzy, professional photos. Positioned as a travelogue across the great Australian continent (complete with a hand-drawn map), the international troupe of sprayers named 1UP from Germany provides a genteel accounting of their expansive itinerary in a diary here for you, dear reader.
The stories are not without surprise and carefully touch on all the necessary road trip tropes you may wish for but cannot be assured of in a cross-country graffiti tale of skylarking and aesthetic destruction: angry rural police, security cameras, sleeping in rolled-up carpets, fancy receptions with Aperol Spritz, climbing over fences, sudden fire extinguisher tags, exploding paint cans, smoky wildfires, beaches, wallabies, long never-ending-stretches of road, the Sydney Harbor, an emergency-brake whole-car in Melbourne, and yes, a large kangaroo smashing into your car on a darkened country path.
“Nation Of Graffiti Artists” Opens Another Chapter of NYC Writer History
From BSA:
SCORPIO, BLOOD TEA, ALI, STAN 153, SAL 161, CLIFF 159. It was the mid to late 70s in New York and train writing was in its foundational stages, later to be referred to as legendary. For a modest crew of teenagers, it was the hypest stage you could be on, and going all city constructed many dreams of fame and recognition on the street.
Jack Pelsinger wanted to help shepherd these talents and energies into something they could develop into a future, maybe a profession. With a lease on a storefront from the city for a dollar in 1974, he made way for the Nation of Graffiti Artists (NOGA). An artists workshop and haven for a creative community that was regularly sidelined or overlooked, the author of this new volume, Chris Pape (acclaimed OG Freedom), says “Like moths drawn to a light, the kids showed up, hundreds of them.”
With extraordinary photos shot by Michael Lawrence, the book serves as a true document for the New York of that moment and opens doors to a chapter of graffiti history you may not even have known of until now.
SCORPIO, BLOOD TEA, ALI, STAN 153, SAL 161, CLIFF 159. It was the mid to late 70s in New York and train writing was in its foundational stages, later to be referred to as legendary. For a modest crew of teenagers, it was the hypest stage you could be on, and going all city constructed many dreams of fame and recognition on the street.
Jack Pelsinger wanted to help shepherd these talents and energies into something they could develop into a future, maybe a profession. With a lease on a storefront from the city for a dollar in 1974, he made way for the Nation of Graffiti Artists (NOGA). An artists workshop and haven for a creative community that was regularly sidelined or overlooked, the author of this new volume, Chris Pape (acclaimed OG Freedom), says “Like moths drawn to a light, the kids showed up, hundreds of them.”
With extraordinary photos shot by Michael Lawrence, the book serves as a true document for the New York of that moment and opens doors to a chapter of graffiti history you may not even have known of until now.
NATION OF GRAFFITI ARTISTS, NYC. WRITTEN BY CHRIS PAPE WITH PHOTOGRAPHY BY MICHAEL LAWRENCE. PUBLISHED BY BEYOND THE STREETS, 2021.
As you would know if you waited in the dark out in the open night for a freight train to paint, the earth vibrates and the rumbling can raise adrenaline levels with fear and excitement, and anticipation.
Time and again we hear the stories of isolation and community intertwined with “fright writing”, where a graffiti writer takes the “life and limb” thing a little too lightly, risking both to get up on a cross-country platform.
Next month graffiti historian, author, businessman, curator, disruptor, and film director Roger Gastman brings the freights Rolling Like Thunder to Showtime network with a new documentary that he promises will dive into “the secret underground world and history of freight train and graffiti culture, uncovering stories of myth-like artists, remarkable romances, competitive graffiti crews, and battles with the institution.”
It’s part of the network’s announced multi-year Hip Hop 50 initiative in collaboration with Mass Appeal, and will air on December 17th.
Roger sent us a few images from the film and behind-the-scenes shots to whet your aerosol appetite.
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.
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.
“I
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
has come.”
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
special.”
“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.
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.
You’re
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.
“These
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.
“It
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.
“They
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.”
“When
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
Not content
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
street.
Graffiti
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.”
A fluorescent
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.”
Beyond the
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.