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2010-2020 : 10 Impactful Street Art & Graffiti Interventions & Events of the Decade

2010-2020 : 10 Impactful Street Art & Graffiti Interventions & Events of the Decade

BSA has been here with you for this entire decade – an honor and a privilege. Reviewing the many interventions and events we witnessed and shared with our readers, we realize that this grassroots people’s art movement is reflecting our society in fundamental ways and reaching deep as well as wide. Here in roughly chronological order we recount for you a Top 10 for BSA that have impacted our way of seeing art on the streets.


1.

The “Girl In The Blue Bra” – December 2011

Oppressive regimes worldwide have a few commonalities. One of them is patriarchy. Over the last decade we have seen many female artists rise powerfully to smash it, harnessing their rage and power and taking their voice to the street.

There were countless images that encapsulated the ferocity and the tenacity of the protesters during the Arab Spring uprisings in Cairo, Egypt in December of 2011. One image, in particular, captured the attention of the media and the public. The image is commonly referred to as the “Girl In The Blue Bra”. The image depicts a young woman, whose identity remains anonymous, being beaten and dragged by soldiers as she was taking part in the protests in Tahrir Square in Cairo, against Egypt’s Supreme Council of the Armed Forces. Her face is veiled and her jeans are still on but as she was being dragged by the soldiers her abaya came undone exposing her bare torso and revealing her blue bra as a soldier was about to kick her in her abdomen.

A young woman is being dragged and kicked, exposing her bare torso in the act by the military in Tahiri Square. Cairo, Egypt. December 17, 2011. (Stringer/Reuters/Landov)

While the image exposed the abusive practices and of power of the military in Egypt – it also swiftly sparked ferocious reactions around the globe, particularly with women who subsequently staged their own march in Tahrir Square in Cairo to demand the end of military rule.

Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)

Among the artists who carried the Blue Bra theme to the streets was one artist, Bahia Shehab, whom BSA and its readers helped to get a movie made about Street Artists in the Arab Spring, called Nefertiti’s Daughters, directed by Mark Nicolas. Later we were the first to debut a scene from it at the Nuart Festival in Norway (“#Activism on the Street Now”), and years after that Nuart actually hosted professor Shehab. This is a small world, this Street Art community.

The actions of the young woman, the violent response of the military, and the overwhelming support of the public, in general, sparked a new wave of feminism in Egypt and inspired artists to create and display their artworks on the streets in protest.

Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)
An unidentified artist in Cairo. (photo from Pinterest)

2.

“Art In The Streets” Opens at LA MOCA – April 2011

Art in the Streets was the first major U.S. museum survey of graffiti and street art, curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, an exhibition tracing the development of graffiti and street art from the 1970s to the global movement it had evolved to. BSA was there to capture and share some of what was happening.

Red Hot and Street: “Art in the Streets” Brings Fire to MOCA

From BSA

“Yes, Banksy is here. The giant ‘Art in the Streets’ show opening this weekend at the Museum of Contemporary Art in Los Angeles gives a patch of real estate to the international man of mystery who has contributed greatly to the worldwide profile of what is soon to be, maybe already is, a mainstream phenomenon known as street art. A smattering of his pranksterism is an absolute must for any show staking claim to the mantle of comprehensive survey and an excellent way to garner attention. But “Streets” gets its momentum by presenting a multi-torch colorful and explosive people’s history that began way before Banksy was born and likely will continue for a while after.

The show is an audacious multi-platform, colorful endeavor; part history lesson and part theme park bringing about 50 years of graffiti and street art history, it’s influences and influencers, under one roof. Then there is the stuff outside. Engaging and educational, “Art in the Streets” makes sure visitors have the opportunity to learn how certain tributaries lead to this one river of swirling urban goo, mapping connections between cultural movements, communities, and relationships within it. When it does this, the museum system effectively differentiates its value apart from a mere gallery show. “

“Art In The Streets” Blade . Os Gemeos. (photo © Jaime Rojo)
“Art In The Streets” Invader’s invasion of Martha Cooper’s installation. (photo © Jaime Rojo)

3.

Banksy’s NYC Residency – “Better Out Than In” – October 2013

An unprecedented city-wide near daily installation of works in New York established a new high-water mark in the flood of Street Art that took many cities in the 2010s. The British Street Artist played to a media capital in such an effective campaign that even the least interested residents became familiar with the elusive prankster.

Banksy’s Final Trick

From BSA

A Genuine October Surprise for New York Street Art Friends and Foes Alike.

“In a series of communiqués beamed from his website, the global Street Artist Banksy gave graffiti and Street Art followers a near-daily jolt of mystery and mouse clicking that had people looking at every street scene as a possible Banksy by the time it ended. While few can confirm the exact level of involvement the actual artist had in the five boroughs, if any, none will deny that the Banksy brand underwent a major “refresh” this month that again put his name on the lips of those who had begun to forget him and many who had never heard of him.

Thanks to this masterful marketing campaign billed as a month-long ‘residency’ on New York’s streets, many thousands were talking about him daily on the street, on television, radio, social media, in galleries, studios, office cubicles, art parties, and the mayors’ office. By effectively combining the sport of treasure hunting with humor and populism, each new cryptic appearance of something-anything gradually conditioned some grand art doyennes and the plainer mongrels amongst us to drool on command and lift a leg in salute to the curiously still anonymous artist and the team who helped him pull it off.”

BANKSY “Better Out Than In” NYC Month Long Residency. (photo © Jaime Rojo)
BANKSY “Better Out Than In” NYC Month Long Residency. (photo © Jaime Rojo)

4.

The Brooklyn Museum’s Exhibitions with Swoon, Faile, BÄST, Haring, Basquiat, ESPO, JR Expand Knowledge, Appreciation

One cultural institution in New York City and indeed in the United States has been notable throughout the decade for its commitment to organizing exhibitions where graffiti, street art, and the artists whom have shaped it are given recognition for their contribution to the arts. The Brooklyn Museum’s leadership, including former director Arnold L. Lehman, current director Anne Pasternak, and Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives have been channeling resources and focus to the study, promotion, and exhibition of the works of important figures in the contemporary graffiti and Street Art movement. It notable that the museum has in its permanent collection the works of distinguished graffiti and Street Artists dating back to the dawn of the modern scene; something that other important cultural institutions in New York City that are dedicated to the preservation and promotion of modern, contemporary, and American art lack in their collections.

It’s for this reason that we have selected the Brooklyn Museum as one of the top ten graffiti and street art movers of the decade. Predated by 2006’s “Graffiti” exhibition the museum has mounted several important presentations during this decade that have not only been blockbusters but they have contributed to the cultural enrichment of all New Yorkers and the expanded discussion of the relevance of these art forms to established canons. Here are some highlights:

Keith Haring – March 2012

From BSA

Keith Haring 1978-1982 : Early Keith at The Brooklyn Museum

Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.

… At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.”

Keith Haring. Matrix, 1983. Courtesy of and © Keith Haring Foundation, The Brooklyn Museum. (photo © Jaime Rojo)

Swoon – April 2014

From BSA

“Swoon: Submerged Motherlands”, A Tree Grows in Brooklyn Museum

“Sharon brought me in here and said, ‘What is interesting to you in the building?’ and I really love that because the thing about working on the street is that you are always thinking site-specifically. And so that thinking has to translate into your work in all places. For me, if I make something in a museum I want it to be very site-specific and this is probably one of the most site-specific pieces I’ve ever done,” explains Swoon.

Under the advice and guidance of an engineer, the artist also modified her design process to allow for foundational considerations like truss sections and lift points. “I showed him an initial model and he showed me an engineered system and then I built another model based on the system that he engineered.”

It is probably unusual for a grand museum to be so amenable to the requests of an artist for a site-specific piece that literally inhabits the furthest reaches of space, and Swoon says she recognizes the leeway she received. “You know, they have been really adventurous in letting us create this. We’ve been sort of pushing a lot with the creation of this piece.”

For Matt Atkins, the opportunity to bring an internationally known street artist and neighbor into the museum has been the result of just over two years of planning. ‘It’s been so wonderful working with Swoon to realize her vision for this project. This is the first time we’ve really used the full height of the 72-foot dome, so it’s quite spectacular. I am thrilled to see her boats back in New York and for them to have this new life. The underlying ideas about climate change in the installation also make this project an appropriate tie into the Museum’s focus on activism with our other exhibitions and collections,’ she says.”

“Swoon: Submerged Motherlands” (photo © Jaime Rojo)

Basquiat: The Unknown Notebooks – April 2015

From BSA

Basquiat’s Notebooks Open at The Brooklyn Museum

“In Basquiat: The Unknown Notebooks, now running at The Brooklyn Museum until August 23rd, the genius of his fragmenting logic is revealed as a direct relationship between his private journals and his prolific and personally published aerosol missives on the streets of Manhattan’s Soho and Lower East Side neighborhoods in the late 1970s and 1980s.

These notebooks were for capturing ideas and concepts, preparing them, transmuting them, revising them, pounding them into refrains. In the same way his text (and glyphic) pieces on the street were not necessarily finished products each time; imparted on the run and often in haste, these unpolished missives didn’t require such preciousness.”

Famous. 1982. Basquiat:The Unknown Notebooks. Brooklyn Museum. April 2015. (photo © Jaime Rojo)

Faile & BÄST – July 2015

From BSA

Holy Faile ! “Savage/Sacred Young Minds” at Brooklyn Museum

“FAILE may be a religious experience this summer at the Brooklyn Museum, but only one of the hallowed installations is called Temple. The seedier, more dimly lit venue will surely have the larger number of congregants by far, bless their sacred hearts.

Celebrating the duality and appropriation of words, slogans, and images have been the bailiwick of the duo since they first began hitting Brooklyn streets at the turn of the century with their stencils and wheat-pastes on illegal spots and neglected spaces. In FAILE: Savage/Sacred Young Minds, their new attention-commanding/refracting exhibit organized by Sharon Matt Atkins at the Brooklyn Museum, these guys pour it on, compelling you into a complex panoply of possible re-imaginings of meaning that reference pop, pulp, myth, art history, 50s sci-fi, 60s advertising, comics, punk zines, consumer culture and their own pure artistic and branded fiction.”

FAILE. Temple. “Faile: Savage/Sacred Young Minds” Brooklyn Museum, July 2015. (photo © Jaime Rojo)

Stephen ESPO Powers – November 2015

From BSA

Coney Island Dreaming: Following the Signs to Stephen Powers

Stephen Powers: Coney Island Is Still Dreamland (To A Seagull) is one of 3 new exhibits inspired by the historic attractions of Brooklyn’s seaside.

“Graffiti artist-turned-sign painter Stephen Powers is dreaming of Coney Island and he is bringing a colorful collection of found and freshly produced signage that evokes a forgotten era to climb the columns of a Brooklyn Museum gallery.

Given the boisterous parade of brands and logos into museums that is happening as part of the institutional funding and programming mix, it’s fun to see the ninth episodic installation of this traveling ICY SIGNS shop here; its simplicity and guile recalling amusing persuasive techniques from the mid-century American advertising lexicon. Simultaneously, for those who have been lucky enough to sicken themselves on cotton candy and The Wonder Wheel, the new show imparts a rather reassuring and seedy nostalgia for Coney Island, complete with an inexplicable hankering for a thick beef hot dog.”

Steve Powers “Coney Island Is Still Dreamland (To A Seagull)” Brooklyn Museum. November 2015 (photo © Jaime Rojo)

JR – October 2019

From BSA

“JR: Chronicles” Revels in His Explorations at Brooklyn Museum

“A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.

Brooklyn Street Art: JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects?
Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby or business owners and workers of local stores. “

JR. 28 Millimètres, Portrait d’une génération, Braquage (Holdup), Ladj Ly, 2004
JR: Chronicles. Brooklyn Museum. Brooklyn, NY (photo © Jaime Rojo)

5

Blu and Street Art – Banksy & Co.

Curated by Christian Omodeo, Luca Cinacabilla, and Sean Corcoran. March 2016

BLU buffing his own works in Bologna took the news cycle, his legion of compatriots armed with rollers and bucket paint. But it was the show that he was reacting to that brought thousands to the museum space to discuss the rightful place of Street Art, graffiti, and the relevance of preserving it for posterity.

From BSA

BLU Allies : A Counter Exhibition to “Banksy & Co.” Launched in Bologna

“The contested Banksy and Co. exhibition contains, among many other works, walls removed from a privately owned abandoned building in Bologna that were painted by BLU. Displaying the walls and his artwork without his consent so angered the painter that he rallied artists and activists to help him snuff out all his remaining murals and paintings in this Northern Italian city last week. (See A BLU Buffer Talks About the Grey Action in Bologna)

The heavily attended Friday night opening of Street Art – Banksy & Co. at Palazzo Pepoli – Museo della Storia di Bologna was curated by Luca Ciancabilla, Christian Omodeo, and Sean Corcoran and features roughly 250 historical and contemporary works spanning about fifty years and highlighting a number of movements within the so-called Urban Art genre. On balance it appears that 90 percent of the works are studio works, paintings, sculpture, videos, original sketches, and ephermera and were probably collected in a more conventional way and the tagged posters, stickers, metal doors, and wall fragments are viewed in the context of the whole scene.”

About Ponny (photo © @around730)

A BLU Buffer Talks About the Grey Action in Bologna

From BSA

“Reality TV is usually completely devoid of reality. That isn’t the exact comparison Andreco said on his Facebook page but we thought it was a fitting analogy. Street Art in a museum or gallery can sometimes feel like taxidermy.

Andreco actually said ‘Deciding which wall to paint or not to paint has always been one of our free choices. This operation, to uncork the walls and move them elsewhere, oversteps this freedom.’ Fair enough.

Of course, that is not the primary reason why activists and Street Artists joined in to help BLU paint over the many murals that he completed on Bologna city walls over the last two decades or so. In an English titled press release on the Italian website Wumingfoundation the artist lays out a multi-layered justification for destroying his own murals, many of which have become beloved landmarks around the city and which have helped make him an art star in some circles.”

BLU action in Bologna. (photo © Andreco)

American conceptual, activist and street artist John Fekner, whose art and his art partner Don Leicht were represented in the exhibition Street Art: Bansky & Co weighs in the controversy by saying:

  • The bottom line is: what’s done in public-doesn’t remain in public. There’s no protection for artists who trespass. It’s the chance one takes outdoors.
  • If you create illegal art murals, street rules are always in effect:
  1. You can’t stop a drunk in the middle of the night from pissing on your wall.
  2. You can’t stop a bulldozer from razing your work.
  3. You can’t stop a neighborhood anti-graffiti squad from painting over your work.
  4. You can’t stop a well-dressed thief in a suit, or their hired slug with a chisel from removing your wall work and hauling it off to their laird, garage, museum or art market.

“Under any circumstances, don’t immediately and irrationally react. If your original aspirations were to be an artist- then just do what you were meant to do: be an artist. Don’t double shift and be a night watchman patrolling the streets to try and thwart thieves of your work. Unique temporary outdoor creations engender a public conversation that includes everyone: art lovers and art haters, lowbrow and highbrow, and everyone who interacts with your public work.”

John Fekner (© John Fekner)

6.

Urban Nation Museum for Urban Contemporary Art Opens in Berlin – September 2017

We had the unique perspective of being two of the foundational curators who made this exhibition happen and made the doors fly open to thousands of visitors, so it only made sense that we covered the opening that brought much promise to the institutional recognition of Street Art, graffiti, and its move into Urban Contemporary.

From BSA

“Inundated!” Scenes from the Opening: UN – Urban Nation Museum For Urban Contemporary Art in Berlin

“This week is Art Week in Berlin, and you just stole Art Week,” said a handsome and intensely opinionated German to us as we leaned on the arm rail of the M.C. Escher-inspired walkway before a Carlos Mare139 sculpture and above the capacity crowd on Saturday night at the Urban Nation Museum of Urban Contemporary Art (UN).

Not sure if that was the exact goal, but we get his larger point; the UN has just made a massive entry into a number of societally and culturally influential minds when it comes to the relevancy of Street Art and graffiti to visual culture and art history. This movement into so-called Contemporary began as early as the 1970s and has overcome and weathered cultural and market ebbs and flows – persisted, if you will – yet somehow institutions have been wary of this work and these artists and unable to fully embrace their importance, you decide why.”

Urban Nation Museum For Urban Contemporary Art. Berlin. September 2017. (photo © Jaime Rojo)
Hot Tea’s installation. Urban Nation Museum For Urban Contemporary Art. Berlin. September 2017. (photo © Jaime Rojo)

7.

Five Pointz: A Legal Case For Urban Artists Shifts the Focus – February 2018

From BSA

Tell It to The Judge ; Graffiti Artists Win in 5 Pointz Case

“In a ruling that many graffiti and Street Artists interpret as a validation of their artwork and which may spawn further legal claims by artists in the future, Brooklyn Judge Frederic Block, a United States Federal Judge for the Eastern District of New York, awarded $6.7 million in damages to a group of 21 artists in the high profile case of the former graffiti holy place in Queens called 5 Pointz.

Under the leadership of artist and organizer Jonathan “Meres One” Cohen, also a plaintiff, the award is in response to a suit that cried foul on the overnight destruction of multiple artworks on building walls without consultation or notification of the artists.

Citing provisions of the 1990 Visual Artists Rights Act that grants artists certain “moral” rights, the artists claimed that their artworks on the 5 Pointz compound that was owned by real estate developer Jerry Wykoff were protected and should be afforded certain rights and considerations.

Arts and intellectual property lawyers and judges will now be examining the implications of the ruling and citing it as an example in arguments about art created on walls legally and possibly those created illegally as well. In a city that prides itself as being a birthplace of graffiti and Street Art, many artists and wall owners must ask themselves if there will need to be an additional layer of the agreement before an aerosol can is held aloft.”

5Pointz. LIC Queens. (photo © Jaime Rojo)
5Pointz. LIC Queens. (photo © Jaime Rojo)
5Pointz. LIC Queens. (photo © Jaime Rojo)

8.

The New York Times Publishes DONDI’S Obituary – February 2019

In an unprecedented posthumous publication of an obituary, this year The Times acknowledged something that it had so far failed to do; the contribution of graffiti writers to the cultural and art canons deserves serious recognition. By publishing the iconic image of DONDI taken by Martha Cooper that burned “Subway Art” into the mind’s eye of many generations of graffiti writers, the “paper of record” caught up with one the the scene’s leaders and heroes.

Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)

The NYT obituary of Dondi begins like this:

Donald Joseph White, considered a legend before “street art” became popular, turned New York City’s subways into rolling canvases of color, humor and social commentary.”

Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)


9.

Martha Cooper: A Picture Story Premieres at TriBeCa. A film by Selina Miles. April 2019

From BSA

MARTHA: A Picture Story. Shots from the Premiere and Movie Review

“First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:

Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.

The electricity was in the air as Director Miles and producer Daniel Joyce along with the just-arrived Australian members of the “Martha” crew looked for their seats in the Village East Cinema. After a brief introduction by Miles, who told the audience that the film had been a great pleasure to make, the curtain went up to reveal the mother of the superstar art twins Os Gemeos on the big screen. She is sitting at her kitchen table in São Paulo remarking how her boys used to draw on everything, including fruit, and how Cooper and Chalfant’s 1984 book “Subway Art” changed their lives forever. With their story as a backbone for the film, the theme of personal transformation is repeated in a hundred large and small ways for the next hour and twenty minutes. “

Martha Cooper “A Picture Story” TriBeCa Film Festival. April 2019. (photo © Nika Kramer)
Director Selina Miles with Martha Cooper. Martha Cooper “A Picture Story” TriBeCa Film Festival. April 2019. (photo © Nika Kramer)
Martha Cooper “A Picture Story” TriBeCa Film Festival. April 2019. (photo © Steven P. Harrington)

10.

Street Art and Activism Takes Larger Share of the Cultural Stage

This decade that is coming to an end has seen its share of natural disasters, human rights violations, atrocities of large scale against humanity, corruption at the highest levels, the reversal of hard-fought policies to protect the planet and keep our air and water clean. We have witnessed with despair the renaissance of hatred based on people’s nationalities, their skin color, their religion, their choice of attire, their level of material affluence and their sexual preferences.

We have seen progress as well. Women around the world have been freer to speak their mind against oppression and abuse of power thanks to social movements that have flourished around the world in big cities and small towns. Our LGBT brothers and sisters have scored numerous legal battles in their favor thanks to enlightened lawmakers and judges who have searched deep inside their intellect to find the right answer to make sure everybody is treated equally. Likewise, our peers whom we need to advance our cause have taken seriously the responsibility at the ballot box to make the correct choice with policies that will bring relief to those who have less than we do.

Art and artists have often reflected back to us the world we live in, it is for this reason that we have chosen Street Art and Activism as an important action in this decade. We have always championed the work of artists who imbued their art with a strong sense of social urgency. It is with their art that they talk to us in the hopes to change one mind, one action, one concept, one attitude towards the goal creating a common good. There are many of them currently active on the streets. This wouldn’t be the appropriate space to list all of them but we would like to give you some highlights:

No Borders: Murs Contra el Murs (Walls Against Walls)

Barcelona, February 2019.

From BSA:

“This past Sunday, February 17 at La Plaza de las Tres Chimeneas (Three Smokestacks Square) in Barcelona an international group of artists participated in the first ‘No Borders Festival.’

NO BORDERS is a grassroots organization that was created to raise awareness about the refugees, to demand their acceptance, and to raise funds through debates, art, and documentaries.

They say they want to raise the uncomfortable questions – which will undoubtedly lead to uncomfortable answers as well. To paraphrase the text on their website:

‘Do we settle for a society that violates its moral and legal obligations to refugees? A refugee is a person who flees – Flees because he is on the losing side. Because he thinks, feels or prays differently than those who point him with their weapons.’

As usual, artists are bringing these matters to the street for the vox populi to debate.”

Enric Sant. No Borders Festival. Barcelona, Spain. February 2019. (photo © Lluís Olive)

Andreco: Reclaiming Air and Water for Delhi, India “Climate 05”

New Delhi, March 2019.

From BSA:

An Art, Science and Climate Action project by Andreco

“And the statement isn’t hyperbole, according to AIR-Ink, the company that made his ink, which is “the first ink made entirely out of air pollution,” they explain on their website.

The unique art-making material is part of the Italian Street Artist / Activist’s most recent installment of his Climate Art Project, which he orchestrated on the streets here in New Delhi for the St+Art Festival this year. Part of a global, multi-city installation and demonstration, ‘Climate 05 – Reclaiming Air and Water’.”

Andreco. Climate Art Project. In collaboration with St+ART India Foundation. Delhi, India. March 2019. (photo Akshat Nauriyal)

“Post-Posters” Puncture Public Discourse in Strasbourg, France

Strasbourg, May 2019.

From BSA:

” ‘Actions Speak Louder Than Ass Ads,’ says a new stencil-style printed poster by New York’s epic, if sometimes cryptic, street commentator of four decades, John Fekner. Anyway, who will argue with that?

Post-posters is a cooperative proposition about public billposting,” says French conceptual street anarchist Matthew Tremblin about his new project with hit-and-run situationist street posterer Antonio Gallego. Together they reclaim space with individually produced posters and they invite artists from around the world to do the same.

Over a two month period the creative place-makers are facilitating an international crew of artists to post posters on the occasion of the double exhibition by Banlieue-Banlieue group* (°1982, Poissy) taking place in Strasbourg, at both AEDAEN and the Syndicat Potentiel. “

John Fekner . Carole Douillard. Post-Posters Project. Strasbourg, France. April 2019. (photo courtesy of Syndicat Potentiel)

Tatyana Fazlalizadeh: When the Lion Roars Back, a small overview

Brooklyn, NY. July 2019.

From BSA:

“By putting these images of people of color, women, LGBTQ+ folks on the street with their blunt-force sentiments addressed to would-be harassers, she not only stands with them, but Tatyana has also used her work and vision to give them the courage to stand proud, assert their voice and to take public space.

After all, it belongs to the public.

“Women are not outside for your entertainment”, a startling truth for some guys that pointedly highlights abusive behavior toward women on the streets of Brooklyn and many cities around the world. Brooklyn Street Artist Tatyana Fazlalizadeh has been targeting daily oppressive experiences of marginalized people with her campaigns of art on the streets – and in the gallery.

Addressing themes of social justice, racism, LGBTQ+ rights, and sexist street harassment, her beautifully drawn campaigns on wheat-pasted posters and painted murals across the globe have brought attention to issues sorely in need of addressing during hostile rhetoric from some men in the highest offices.”

Tatyana Fazlalizadeh (photo © Jaime Rojo)

Jetsonorama Tells “Stories From Ground Zero”

Church Rock, New Mexico. August 2019.

From BSA:

“This spill and these events did not happen in San Diego or Palm Beach. The story doesn’t affect wealthy white families and cannot be used to sell shampoo or real estate. That’s probably why we don’t see it in the press and never on the talking-head news. Street Artist Jetsonorama is not only a photographer who has been wheat-pasting his stunning images of people and nature on desert buildings for over a decade, he is also a doctor on the Navajo reservation, a human-rights activist, and an erudite scholar of American history as it pertains to the poisoning of this land and these people. Today we’re pleased to bring you this long-form examination from Jetsonorama’s perspective on a complicated and tragic US story of environmental poisoning and blight that affects generations of native peoples, miners, military personnel, and everyday people – and has no end in sight.

Most alarming is the news the current White House administration is endeavoring to mine uranium here again.

‘Private companies hired thousands of Navajo men to work the uranium mines and disregarded recommendations to protect miners and mill workers. In 1950 the U.S. Public Health Service began a human testing experiment on Navajo miners without their informed consent during the federal government’s study of the long-term health effects from radiation poisoning.  This study followed the same violation of human rights protocol as the US Public Health Service study on the long-term effects of syphilis on humans by experimenting on non-consenting African American men in what is known as the Tuskegee Syphilis Experiment from 1932 – 1972.’ ~ Jetsonorama”

JC with her younger sister, Gracie (who is a NBCS participant).  (photo © Jetsonorama)

BSA Special Feature: “REWILD” from Escif

Sumatra, Indonesia. September 2019.

From BSA:

“As part of our core commitment as a non-commercial platform that has helped hundreds of artists over the last decade+, BSA significantly helped Escif to raise money for his Indiegogo fundraiser in Spring 2017 when we promoted his “Breath-Time” horticultural project heavily as he planted trees to reforest Mount Olivella in Southern Italy.

Today BSA debuts REWILD, a new tree-related project by the Spanish Street Artists – just as the Global Climate March is spreading to cities around the world, including New York.

The concept of the short film is simple: can’t we just push the “Rewind” button?

‘The narrative runs in reverse, rewinding the clock on deforestation to undo the damage caused by the unsustainable production of one of the world’s most versatile commodities. Beyond the industrialisation of the land, we end at the beginning, a thriving ecosystem alive with wildlife. The concept mirrors the real world action of the Sumatran Orangutan Society and their partners in reclaiming land on the borders of the Leuser rainforests to rewild them with indigenous trees, expanding the boundaries of one of the most biodiverse places on earth.’  

Finally, a stunning custom soundtrack by Indonesian composer Nursalim Yadi Anugerah captures and carries this into another world, which is possible.

Shout out to the folks behind the project Splash and Burn: a cultural initiative curated by Ernest Zacharevic and coordinated by Charlotte Pyatt run in association with the Sumatran Orangutan Society and the Orangutan Information Centre.

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BSA Top 10 Stories Of 2019 As Picked By You

BSA Top 10 Stories Of 2019 As Picked By You

Greece, Mexico, Poland, Detroit, Brooklyn, Tennesee, Texas, Asbury Park in New Jersey. Your favorite BSA stories were not limited to geography. Aerosol, wheat-paste, yarn, soldered steel, cut stencils, rollers, photography, even plants; Nor were they contained by technique or materials.

Giving live plants away in a refugee camp, queer pride phone booth takeovers, a floriculture bus stop, a windswept installation constantly in motion at a seaside resort. We paid homage to foundational documentarians of graffiti and Street Art culture, watched an early 1980s French stencil originator travel through the US south, and provided a platform for one of New York’s most elusive writers who blasted apart definitions with his texts and sculpture – all while keeping his own profile on the serious DL.

The creative spirit appears wherever we look on the street, and luckily you love to observe and learn and get inspired by other’s work as much as we do.

Based on the traffic to the website, on social media, and in our email box, here are the top 10 stories that you loved the most in 2019 on BSA.


No. 10

The Dusty Rebel: “Resistance is Queer”

The Dusty Rebel. Hope Will Never Be Silent. In collaboration with #KeepFighting (photo © Jaime Rojo)

From BSA:

Who writes your history? Who would gladly suppress it?


By reviving and celebrating those who the mainstream historically underplays, undercuts, neatly overlooks, and otherwise de facto silences, a new takeover campaign on NY streets helps write the history of LGBTQ struggle, and keeps it just as relevant as this moment.

Photographer and journalist The Dusty Rebel now curates the same streets he documents and shares with BSA readers today his determined campaign to revive, preserve, propel forward the significant players and events that have fought in their myriad ways, with the admonishment to keep fighting. With “Resistance is Queer” he uses his images and his respect for LGBTQ history to ensure that the full spectrum of people are recognized for their contributions to this civil rights struggle for equality.

We’re grateful that he has taken the time to explain in detail the people behind the images and their significance to him personally as well as their role in a people’s history.


The Dusty Rebel: “Resistance is Queer” Phone Booth Campaign in NYC. Continue reading HERE


No. 9

Blek Le Rat Tours the US South

Blek Le Rat. Nashville. (photo © Brian Greif)

From BSA:

Tennessee and Texas Sample a Certain Street Savoir Faire

Look out for Le Rat!

He’s getting up in places down south that you wouldn’t normally associate with a French Street Artist, much less the one who started stenciling in a style and manner unusual on Paris walls in ’81 – an antecedent for much of what we later would call ‘Street Art”. 


Blek le Rat Tours The US South continue reading HERE


No. 8

“Evolucion de una Revolucion” Outside in Queretaro, Mexico

Martha Cooper. Evolucion de una Revolucion. In collaboration with Nueve Arte Urbano. March 30th, Queretaro, Mexico. (photo © Jaime Rojo)

From BSA:

“Martha Cooper isn’t only a photographer, she’s a historian as well and you are here with us today to pay homage to her work. Martha is my teacher and she taught me more than graffiti, she’s taught me the way in which we live with art every day. When we see a piece of art on the street we bring it into our daily lives. That’s precisely Martha’s contribution to our lives”

Edgar Sánchez, co-founder of the Nueve Arte Urbano festival.

Under the magical spell of the Jacarandas in full bloom, a spirit of Pax Urbana flowed through Queretaro’s lush public park Alameda Central this weekend as dignitaries from the city, including the honorable Andrea Avendaño, the Minister of Culture of the City of Queretaro, and the Nueve Arte Urbano team hosted the opening of an outdoor exhibition by famed photographer Martha Cooper.

The 101 photographs spanning four decades were enlarged and mounted in weather resistant vinyl throughout the park, representing the full range of Ms. Cooper’s continued focus on art in the streets.


Evolucion De Una Revolucion continue reading HERE


No. 7

Icy & Sot: Giving Plants and New Life to Refugees in Greece

Icy & Sot. Giving Flowers. Lesbos Greece. June 2019. (photo © Icy & Sot)

From BSA:

Street Art brothers Icy and Sot once again lead by example with their latest act of artivism at a refugee camp in Greece.

People chased from their homes by wars in places like Syria, Iraq and Afghanistan are now part of a larger conversation in Europe as countries struggle to accept the massive numbers of refugees in the last decade. On the Greek island of Lesbos, the overcrowding of a camp named Moria has produced Olive Grove, a temporary place full of tents, but little nature.

With a goal of softening the hardship for people living here, Icy and Sot raised money through a print sale online and with the proceeds purchased fresh flowering plants to give away. “It was wonderful to see that actually put a smile on peoples’ faces for a moment,” they say in a press release.


Icy & Sot: Giving Plants And New Life To Refugees In Grece continue reading HERE


No. 6

“Martha: A Picture Story”. Shots from the Premiere and Movie Review

Selina Miles & Martha Cooper. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

From BSA:

First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:

Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.


Martha A Picture Story. Shots From The Premiere And Movie Review continue reading HERE


No. 5

Riding the Rails in the Bronx With “Henry Chalfant: Art vs. Transit, 1977 – 1987”

Henry Chalfant. HENRY CHALFANT: ART VS. TRANSIT, 1977 – 1987. The Bronx Museum of the Arts. The Bronx, NYC. (photo © Jaime Rojo)

From BSA:

“We may have lost the trains, but we’ve gained the whole world.”

That’s a quote on the wall in the new exhibition at the Bronx Museum spotlighting the work of Henry Chalfant. The quote comes from Mare 139, one of the early graffiti writers of 1970s-80s trains in New York, referring to the now-scrubbed subway cars that once functioned as a mobile gallery for the young masters of cans throughout a metropolis that was in the grips of financial and social upheaval. Thanks to the work of artists and documentarians like Mr. Chalfant, the ephemeral works were captured, cared for, preserved, and spread throughout the world in the intervening years, in some ways helping to spawn a global interest and practice among burgeoning artists.


Riding The Rails in The Bronx With “Henry Chalfant: Art VS. Transit 1977 -1987 continue reading HERE


No. 4

F*cking REVS: Interview on BSA by Freddy Alva

REVS. Weld Up in DUMBO, 2000. (photo © Jaime Rojo)

From BSA:

“Graffiti ain’t something you do, it’s something you live,” says the text above a wildly lettered REVS piece in a 1996 photo taken in El Paso. If there is a New York graffiti/Street Art icon that you would identify with a credo like this, he’s definitely one. Self-secreted away from the limelight and distrustful of many of the characters that are on the graffiti/Street Art “scene” today, REVS is nearly a New York folk hero, despite appearing to be completely firm in his anti-establishment, anti-commercial views – rooted in punk and hardcore music and those values that helped form his sometimes shape-shifting character since the the 1980s.

REVLON, REVS, SHIESTA, AVENGE, FUCKING REVS, REVS SOUP, REVS NUKE…


F*cking REVS: Interview on BSA By Freddy Alva continue reading HERE


No. 3

“Nostalgia” Brings Floriculture to the Tram Stop in Łódź, Poland.

Dominika Cebula. “Nostalgia”. Lodzkie Centrum Wydarzen. Lodz, Poland. (photo © Michał Bieżyński)

From BSA:

As we move further from graffiti and mark-making in public art-making, is it a revelation that the desire to be seen, to have your voice heard, is the common denominator again, regardless of the form of expression.

In this case, a tram shelter in Poland preserves the natural world in resin, transparently.

Like a mix master, the artist here samples someone else’s handiwork and remixes it, adding a filter, chopping it up and repeating it.


Nostalgia Brings Floriculture to the Tram Stop in Lodz, Poland continue reading HERE

No. 2

Banksy X Mercedes: Is This a Parody??

From BSA:

Yes, of course.

This artists’ interpretation of a car ad that features Banksy’s work is a parody, a farce. No one would try to take one of Banksy’s Street Art pieces to help sell their luxury cars, claiming that his work is in public domain and therefore fair game for any use.

Similarly, if it was a mural on the street by Brooklyn Street Artist KAWS, whose fine art canvas sold at auction this week for $14.7 million dollars at Sothebys Hong Kong, Mercedes wouldn’t simply grab it and run the art behind their newest off-roader on Instagram to infer that “Urban” edginess.

Or would they?

“And now they have filed a lawsuit against me trying to strip away all of my rights. I feel like I am being bullied and intimidated,” says graffiti/street artist artist Daniel Bombardier (a/k.a DENIAL) in a statement regarding the luxury brand that is instead suing him along with three other artists, apparently for having the temerity to demand to be paid, according to an article by James David Dickson in The Detroit News .

Bombardier’s mural and the artworks of the other artists – James Lewis (a.k.a. Olayami Dabls), Jeff Soto, and Maxx Gramajo appeared in published advertisements for the company’s cars, apparently without permission. The artists hired a lawyer to contact the carmaker to seek redress, according to news reports, social media postings, and emails that fairly flooded us yesterday.


Banksy x Mercedez: Is This a Parody? Continue reading HERE


No. 1

Windswept Public Art at the Beach: Hot Tea’s New Installation in Asbury Park

Hot Tea. Wooden Walls Project. Asbury Park, NJ. May 2019. (photo © Jaime Rojo)

From BSA:

They designed the Ritz, the Vanderbilt, the Ambassador and the Biltmore hotels in Manhattan, along with townhouses for the Astors, the Yacht Club, and apartment buildings on 5th Ave and Park.

They were also architects on the team for Grand Central Terminal, that Beaux-Arts centerpiece of Gotham with its high marble walls, majestic sculptures, and lofty domed ceiling.

Also, Whitney Warren & Charles Wetmore designed the Casino Building here in Asbury Park, New Jersey a celebrated historical magnet for thousands of tourists escaping the heat and seeking buffeting breezes. The soaring glass paned windows may remind you of Grand Central, but also of that illustrated postcard on the cover of the Bruce Springsteen album, and of colorful resort town living.

You’ll also see 5,760 pieces of colored yarn hanging from the beams above, forming a shape-shifting brick of radiating color that appears to levitate. The brand new installation by Street Artist Hot Tea is lifted and pulled and choreographed by the ocean air, dancing to the sounds of waves crashing, emulating the currents of the sea. 17 rows define the physical boundaries, but your imagination can go much further with it in a matter of minutes.


Windswept Public Art at the Beach: Hot Tea’s New Installation at Asbury Park HERE


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Selina Miles Captures Bordallo II, FinDac, Millo and Case Maclaim at ONO’U 2019

Selina Miles Captures Bordallo II, FinDac, Millo and Case Maclaim at ONO’U 2019

There are times when an artist needs to be completely obvious to get their message out into the world, and Bordalo II is setting the tone for this year’s unofficial ONO’U festival in the gorgeous natural wonder called Tahiti. Using refuse he gathered around the islands of French Polynesia the Lisboan trash artist created a colorful replica of the oceans greatest predator, a shark, using the ocean’s greatest predator, trash.

Vandals at ONO’U 2019 (photo © Selina Miles)

Thanks to filmmaker Selina Miles’ eagle eye we have a brilliant array of scenes today with your from Selina’s trip last month to this uncommon Street Art rendevous in paradise that is organized every year by ONO’U creator Sarah Roopinia.

You may recognize a few of these artists as alumni of previous editions and note the familiar tone that these images relate – like this one with Bordalo II and his co-conspirator modeling fluorescent plastic netting over their heads. It’s funny when you do it to entertain your friends, but not when it gets stuck on your head in the ocean for days or weeks or months and prevents you from eating, like when you are duck, for example.

Bordalo II. ONO’U 2019 (photo © Selina Miles)
Case Maclaim. ONO’U 2019 (photo © Selina Miles)
Case Maclaim. ONO’U 2019 (photo © Selina Miles)
Case Maclaim. ONO’U 2019 (photo © Selina Miles)
Case Maclaim. ONO’U 2019 (photo © Selina Miles)
Bordallo II. ONO’U 2019 (photo © Selina Miles)
Bordallo II. ONO’U 2019 (photo © Selina Miles)
Bordallo II. ONO’U 2019 (photo © Selina Miles)
Bordalo II. ONO’U 2019 (photo © Selina Miles)
Bordalo II. ONO’U 2019 (photo © Selina Miles)
Millo. ONO’U 2019 (photo © Selina Miles)
Millo. ONO’U 2019 (photo © Selina Miles)
Millo. ONO’U 2019 (photo © Selina Miles)
Millo. ONO’U 2019 (photo © Selina Miles)
FinDac. ONO’U 2019 (photo © Selina Miles)
FinDac. ONO’U 2019 (photo © Selina Miles)
FinDac. ONO’U 2019 (photo © Selina Miles)
FinDac. ONO’U 2019 (photo © Selina Miles)
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BSA Film Friday 08.30.19

BSA Film Friday 08.30.19

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. Don Rimx x Owley “Olor A Azucenas El Perfume Del Barrio”
2. Street Art Singapore (VICE)
3. LATINO Legends STREET ART in my BACKYARD! | Los Mendozas
4. Kitt Bennett “Sleeping Giant”


BSA Special Feature: Don Rimx x Owley “Olor A Azucenas El Perfume Del Barrio”

New Yorker/ Puerto Rican Street Artist Don Rimx illustrates his world and ours with his historical people, characters, and archetypes. For this recent piece in Brooklyn he focused on the guy who sells flowers, and the perfumeric effect he has on summer streets.

The mural symbolizes “a cultural bridge”: a flower vendor famous to San Juan, Puerto Rico. As Owley continues to develop his film-maker craft, his own personality is also beginning to emerge; a certain warmth and appreciation for his subjects readily apparent.

Street Art Singapore (VICE)

A quick study of the scene in Singapore at the moment, featuring a graffiti group of style writers and illustrators called RSCLS and a more traditional muralist named Yip Yew Chong. The vandalism laws are strict and violent, yo! So how do you get around them. Carefully. Also heavier topics like institutionalized racism, the surveillance state, and censorship are all hit on.

Respect to Vice for capturing these folks and their stories.

LATINO Legends STREET ART in my BACKYARD! | Los Mendozas

Santana, Selena, Vicente Fernandez, and Frida?

They are all heroes of Hispanic heritage in the house of Instagram comedian Jay Mendoza in Los Angeles. With the help of muralist Gustavo Zermeño Jr these neighbors get together to paint in Jay’s backyard.

Join the #LosMendozasFamily

Kitt Bennett “Sleeping Giant”

Yes, it will remind you of Ella & Pitr. And yes, Melbourne’s Kitt Bennett is impressive nonetheless.

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MARTHA: A Picture Story. Shots from the Premiere and Movie Review

MARTHA: A Picture Story. Shots from the Premiere and Movie Review

First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:

Martha Cooper. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.

Selina Miles & Martha Cooper. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

Included in the crowd were old-skool New Yorkers and a large international contingent of folks like Henry Chalfant, Doze Green, Skeme, Lee Quinones, Soten1, Carlos Mare 139, Terror 161, Kane, Dink (Baltimore), Okuda San Miguel (Spain), Faith47 (Los Angeles), Mantra (France), 1UP Crew (Germany), Nika Kramer (Germany), Roger Gastman, Lars Pederson (Denmark), Ian Cox (UK), Dean Moses… and many more. Those who didn’t attend this screening are having the opportunity to see it at three more sold-out evenings over the course of the festival.

Steven P. Harrington, Martha Cooper, and Jaime Rojo. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

The electricity was in the air as Director Miles and producer Daniel Joyce along with the just-arrived Australian members of the “Martha” crew looked for their seats in the Village East Cinema. After a brief introduction by Miles, who told the audience that the film had been a great pleasure to make, the curtain went up to reveal the mother of the superstar art twins Os Gemeos on the big screen. She is sitting at her kitchen table in São Paulo remarking how her boys used to draw on everything, including fruit, and how Cooper and Chalfant’s 1984 book “Subway Art” changed their lives forever. With their story as a backbone for the film, the theme of personal transformation is repeated in a hundred large and small ways for the next hour and twenty minutes.

Martha Cooper with Faith47. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

Spanning nearly all of Ms. Cooper’s 75 years, including a photo at age 3 with a camera in hand from her father Ben and uncle Harry’s Baltimore camera store, “Martha” successfully identifies the underlying driving forces, the unique personality and intellectual traits, and the milestones that propelled the photographer across scenes, subcultures, cities, and continents.

While Cooper is most often identified as a crucial documentarian of the 1970s and early 1980s graffiti-writing scene in New York, with “Subway Art” considered a global holy book of preservation that inspired thousands of artists worldwide, the film is judiciously clear that the photographer has had an anthropologists’ zeal for documenting much more over her multi-decade career.

Okuda San Miguel being interviewed by Susanne Lingemann for German TV ZDF. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

During and after the film you don’t know who you are most impressed with – the director, Martha, the communities touched, the history and stories that are preserved with such care and respect.

“Martha” captures important and character-molding biographical events  – like her work in the Peace Corps in Thailand, a subsequent motorcycle trip from there to the UK, her investigations of tattoo techniques in Tokyo, and her work as the first “girl” photographer at the New York Post. During the film’s nearly magical depiction of Cooper’s first meeting with New York graffiti king Dondi, those in the audience who knew this story broke out into spontaneous applause.

The film isn’t shy about the low points and struggles of Cooper, like her repeated attempts to work at National Geographic, the continuous rejections of “Subway Art” by publishers, her loss of money by its initial disappointing sales, and the high-sniffing artworld classism of a clueless gallerist who unsuccessfully tries to dash her hopes of being recognized for her truest and most human work.

Jaime Rojo being interviewed by Susanne Lingemann for German TV ZDF. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

You are gently led to take that journey with great interest as well, finally arriving at the mid-2000s European promotional tour for her book Hip Hop Files where Cooper suddenly realizes the impact that “Subway Art” has had on graffiti artists worldwide. Building on that enthusiastic response from new-found fans of her work she jumps back into street photography just as the Street Art scene is exploding.

Despite such a complex story Miles is able to coax out many significant truths in character development along with their infinite shadings, facts and nuances of the story.

Susanne Lingemann from German TV ZDF with Martha Cooper. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

With interviews, testimonials, unseen home footage from Cooper’s ex-husband and excerpts from soft-news TV stories of the 1980s, viewers may gain a greater understanding of the sacrifice, dogged determination, and her sixth sense for capturing images that the subject exhibits. Keeping a quick pace aided by a smart soundtrack, pertinent graphic elements, and sharp editing, Miles finds ingenious ways to educate us about the various milieu Cooper worked with and the vicissitudes she had to overcome.

The additional layers of visual language infuse so many aspects of the story – a collaging of words, music, precise editing, intuitive pairings and lyrical, witty storytelling that lands in a pitch-perfect way.

Featured subject in the film, former New York Post and National Geographic photo editor Susan Welchman displaying her ticket. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

In the end you realize Coopers’ underlying credo of taking pictures is about shedding light on people, their lives, their amazing ingenuity in the face of difficulty, their ability to rise above their environment as well as the artists techniques of art-making.

Careful observers will also be struck by the scenes of quiet moments that remain still for a few seconds to reveal deeper feeling – a remarkable glimpse of the filmmaker’s intuitive grasp of the life path and its trials. It’s those in-between places of luminosity that are revelatory, and the human gestures she lets the camera linger upon allow the viewer to write small essays inside their head, bearing witness.

Susan Welchman, Martha Cooper, and Kathryn Mikesell at the after-party. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)

With gratitude and respect to Director Miles and her whole film crew whom have worked thousands of hours over the past 2 and half years, we know that the graffiti/Street Art/photography scenes have been given a huge gift; almost as big a gift as Martha herself.

Martha Cooper stands up to take a cell phone shot of Director Selina Miles as she introduces the premiere film about Cooper. MARTHA: A Picture Story. A film by Selina Miles. (photo © Steven P. Harrington)
Kathryn Mikesell, Martha Cooper and Jaime Rojo. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)
DJ Jazzy Jay at the after-party performs in front a 1982 photo Ms. Cooper took of him with his audience. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)
Steven P. Harrington, Youri Mantra, Martha Cooper, and Jay Edlin (Terror 161) at the after-party. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)
Martha…where are you going next? MARTHA: A Picture Story. A film by Selina Miles. (photo © Jaime Rojo)
Selina Miles and producer Daniel Joyce with the film’s crew along with artists, friends featured in the film. Red carpet photo call. MARTHA: A Picture Story. A film by Selina Miles. (photo © Nika Kramer)
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MARTHA: A Picture Story. World Premiere Today at TriBeCa (Video Teaser)

MARTHA: A Picture Story. World Premiere Today at TriBeCa (Video Teaser)

After two and a half years of intense filming, editing, and researching, Director Selina Miles will share her story of iconic photographer Martha Cooper on the big screen tonight at the World Premiere of “Martha: A Picture Story”.

A culmination of talents and passion from two great women in the graffiti-Street Art world, the film has been selected to screen in competition at the famed and respected TriBeCa Film Festival in New York City.

In the case of Ms. Cooper, it is a fascinating insight behind the scenes of the life of a person with a determined intellect and uncanny timing. You get a true sense of her focus and passion as she marches above and below the streets and the globe over more than five decades with camera in hand eager to discover and document. Only a director like Miles can tell the story like this, her sixth sense for detail and nuance driving her to the roots of a complex tale, complimented by her savvy ability for precisely timed editing and sound that keeps the viewer on pace for a story that takes many turns.

The first of four screenings (the newest added due to public demand) takes place today at the sold-out premiere.

Click HERE to read our interview with Martha and Selina.

All images here © “Martha: A Picture Story” 2019

Below are the screenings and times:

8:45 PM – THU 4/25Village East Cinema

8:00 PM – FRI 4/26Regal Cinemas Battery Park

9:30 PM – TUE 4/30Village East Cinema

3:45 PM – WED 5/1Village East Cinema

Click HERE to find out if tickets are still available.

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“MARTHA: A Picture Story” Premieres at Tribeca. A Film By Selina Miles.

“MARTHA: A Picture Story” Premieres at Tribeca. A Film By Selina Miles.


BSA Exclusive Announcement
and interview with the director and the star of


MARTHA

A Picture Story

A Documentary by Selina Miles

MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)

BSA is proud to announce the world premiere of Selina Miles’ new full-length documentary on the life and career of New York photographer Martha Cooper at the Tribeca Film Festival next month.  Separated by four decades and an ocean or two, the Australian film director and the American photographer – each of whom has garnered serious respect in the myriad subcultures of art-in-the-streets with phenomenal storytelling abilities and an innate sense of timing – together land a remarkable film capturing life as a street-shooter, making the multi-chaptered story sing.

It is a fascinating visual sweep that illustrates the unusually gratifying paths that this ever-curious ethnologist charts on the streets (and below them) worldwide since receiving her first camera from her father at age three. The film is a well illustrated collage of a remarkable 70 plus year span showcasing Coopers’ 6th sense for people, urban culture, and burgeoning subculture. Viewers get to see the huge variety of interests she has investigated with amiable warmth and academic rigor – from the Peace Corps in Thailand to tattoos in Japan to graffiti train writing in New York to the daily lives of people in her native Baltimore.

MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)

With ample interviews and vintage video footage never seen before, “MARTHA: A Picture Story” follows Ms. Cooper across continents into the streets, through tunnels and over rooftops to provide illustrative background contexts for her decisions, her driving motivations, and her pure determination to succeed as a professional photographer – despite man-made and societal adversity.

We’ve been very fortunate to see this diamond of a documentary up close, and we can say that MARTHA is legitimate crowd-pleaser.

MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)

BSA spoke with Ms. Cooper and Ms. Miles for this auspicious announcement day about the new movie:

BSA: Your personal and professional history has often been about overcoming challenges and pushing aside barriers. Is there one new challenge you have gone beyond to participate fully in a documentary about you?
Martha Cooper: Well like most photographers, I’m more comfortable behind the camera than in front of it especially when speaking. I can’t say I’ve gotten good about overcoming being filmed, but I tried hard to give good footage.

MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)

BSA: One of the challenges of being a doc filmmaker is the number of hats you have to wear – sometimes perhaps feeling like you have to do everything yourself.  What did you discover about your preferred role/s on a film?
Selina Miles: Making a documentary is certainly a dynamic job and requires a mix of technical, social and creative skills. Learning from a photojournalist with 50 years experience such as Martha has been a wonderful experience. I started my career in video making by mucking around with friends making graffiti videos and shooting street art festivals, and the DIY spirit of both of these art forms really gave me an advantage on this project.

Not all directors know how to shoot or how to edit, but thanks to these early experiences I do know a little about all of these disciplines. Being able to just grab a camera and shoot, or to edit my own little concept videos was very handy in getting the project off the ground. That being said, being able to employ an amazing editor like Simon Njoo and having the mentorship of producers like Jennifer Peedom has also been a dream come true and really helped take this film to the next level. 

BSA: With the new documentary many people will learn about a more dimensional photographer than the one they most frequently associate with the name Martha Cooper. Why is this important?
Martha Cooper: I’m often called a graffiti, street art, or hip hop photographer but I don’t put myself into those categories. I would like people to understand that the common denominator in my choice of subjects is art in everyday life. I’m always looking for examples of how people are creative in their everyday lives. Graffiti is just one of many different examples.

MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)

BSA: Is there a special approach or formula that one tries to follow when making a story like this for a more general audience.
Selina Miles: I think that the interesting thing about this story, in particular, is that it explores a subculture that is so misunderstood by so many people. Everybody has seen graffiti and has an idea of what it is, but I still think that few people really understand why it exists and where it came from. There’s so many tropes and ideas about graffiti and those who practice it that are just plain wrong or oversimplify a very complex idea. It’s been an enjoyable and interesting challenge for me to unpack the facts and rules of this subculture as I see them, and step them out in a way that somebody completely new to the culture can understand and appreciate Martha’s story. 

BSA: Your photos capture a time and a moment and a technique of creation, but also often the more atmospheric and cultural energy of the street. What has drawn you time and again to capture this to share? Your own curiosity?
Martha Cooper: Not exactly. As you know, I like looking for things and collecting them. Photography is a challenging quest and taking a good photo is the reward. The nature of what I’m questing for can change according to time and place but in general, the world is more interesting to me if I have a camera. The possibility of photographing something makes me look at my surroundings with a keener eye than I would without a camera.

MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)

BSA: Martha stood on the shoulders of feminists before her, yet blazed some paths that were very much her own – frequently without support. What is one lesson a younger person may take from Martha Cooper when they watch this movie?
Selina Miles: Marty often says that people today don’t understand what it took to survive as a freelancer in earlier decades, especially as a woman and I completely agree. It’s a common thing that you hear but it’s very true, we are lucky these days to live in a world so connected and relatively accepting of all kinds of races, ages and sexes. That being said, there’s always going to be a frontier, and I hope that young people watching Martha’s story will be inspired to push beyond that frontier in their own way, and not be held back by anybody’s expectations of who or what they should be. And do it all the time with a smile and a sense of humor! 


MARTHA: A Picture Story.

Premiering at the 2019 Tribeca Film Festival, which takes place from April 24 – May 5th. Public tickets will go on sale on Tuesday March 26 at 11am ET. Tickets are extremely limited and we recommend purchasing tickets early.

https://www.tribecafilm.com/filmguide/

https://www.tribecafilm.com/festival/tickets

Hashtags: #marthathemovie

Film Instagram: @marthathemovie

Martha Cooper Instagram: @marthacoopergram

Director’s Instagram: @selinamiles

For screening dates and locations and to purchase tickets click HERE

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BSA Top Stories Of 2018 As Picked By You

You got furious at us sometimes this year. Or rather, you were mad at artists whose work pissed you off. Thanks for the emails though bro. We still love you of course sister.

Without a doubt the polarized atmosphere in social/economic/geopolitical matters worldwide in 2018 was increasingly reflected in the graffiti and Street Art pieces and projects that we wrote stories about. Loving it or hating it, often BSA readers were motivated to share the story on social media for discussion and to write directly to us to take issue, or even to chide us for “being political”.

Let’s be clear. Art has always been and will always be “political”. We tend to think that the artwork that we agree with is not political because it is expressing our values, opinions, and worldview.

So that’s why you propelled stories about a clandestine Trump cemetery installation by InDecline onto the list this year. That’s why Winston Tseng’s inflammatory campaign against a certain kind of Trump supporter on NYC trashcans proved to be so provocative and offensive to so many people, while others crowed support.

The topic of free speech under fire also attracted high interest for Fer Acala’s story of artists and rappers who took over a Spanish former prison to protest restrictive recent federal laws aimed at protest in that country.

The timeliness of Jetsonorama’s wheat pasted photography series about Good Samaritans who leave water for people in the desert – and the US border guards who destroy them – resonated powerfully to us this week as  a 7 year old girl died in Border Patrol custody of apparent dehydration.

But BSA readers also love the spectacle, the vast animated murals, the scintillating stories behind the art and the artist; the connection that communities and festivals create with art in the public sphere – or in abandoned factories, as it were. The biggest splash this year was the over-the-top creation of and the fiery destruction of an art sculpture at the Falles de València celebration in Spain by Street Artist Okuda. You loved the tantalizing images by Martha Cooper, and somehow everyone relishes the idea of building and constructing a large, colorful, inspiring piece of art and then lighting it on fire in the public square – propelling that story to the top of the BSA list in Top Stories in 2018


No. 15

The Painted Buses of Raiatea and Bora Bora – French Polynesia

Okuda. ONO’U Tahiti 2018. Bora Bora, French Polynesia. June 2018. (photo © Jaime Rojo)

From BSA:

Box trucks are a favorite canvas for many graffiti writers in big cities and have become a right of passage for new artists who want the experience of painting on a smooth rectangular surface that becomes a rolling billboard through the streets advertising your name, making you truly “All City”.

When in French Polynesia a few weeks ago with the ONO’U festival, a number of artists were given the significant gift of a large truck or school/commuter bus on which to create a mural, a message, a bubble tag.

Together on the islands of Raiatea and Bora Bora there were about 10 of these long and low autobuses that became sudden celebrities in the sparsely travelled streets, debuted as some of them were in Raitea, when painted live at an all night party for the public.

The Painted Buses of Raiatea and Bora Bora. Continue reading HERE


No. 14

Destroying Desert Water Bottles; Chip Thomas’ New Work in AJO, Arizona

Chip Thomas. AJO, Arizona. July. 2018. (photo © Chip Thomas)

From BSA:

Ajo Samaritans describe themselves and their mission on their website like this; “Samaritans are people of faith and conscience who are responding directly, practically, and passionately to the crisis at the US/ Mexico border. We are a diverse group of volunteers around Ajo that are united in our desire to relieve suffering among our brothers and sisters and to honor  human dignity. Prompted by the mounting deaths among border crossers, we came together to provide food and water, and emergency medical assistance to people crossing the Sonoran Desert.”

Destroying Desert Water Bottles; Chip Thomas New Work in AJO, Arizona. Continue reading HERE


No. 13

Copenhagen Diary: A Street Survey of the Moment

DalEast is the author of the bird. Spyo tells the world who he really is… (photo © Tor Staale Moen)

From BSA:

A current survey today from the streets in Copenhagen thanks to a couple of BSA fans and friends who share with readers their recent finds in one of the world’s happiest places, according to the 2018 World Happiness Report. Apparently it is also a good place for gay birds to come out of the closet.

With a storied history of graffiti bombing of the red trains that goes back many years, possibly generations, Copenhagen has long been a treasured destination for graffiti writers.

Now you will also find murals and installations illegally and legally by local and international Street artists – and the iconic full sides of buildings here are subtly transforming the public face of the city.

Copenhagen Diary: A Street Surevey of The Moment. Continue reading HERE


No. 12

Pop Up “Trump Cemetery” Marks Death of Ideas on 1st Anniversary of Inauguration by INDECLINE Artist Collective

“Grave New World” installation by INDECLINE artist collective (image © INDECLINE)

From BSA:

So INDECLINE picked a swell morning to debut their long-planned and complicated site-specific installation at this golf-course in New Jersey.

“INDECLINE felt is necessary to commemorate some of the victims,” they say. “The dates on the headstones correspond to some of the highlights of Trump’s first year in office.” You may remember some of these milestones on the tombstones, you may have to Google others.

The saddest death for us all year has been the civility and respect of Americans toward one another – as those hard working families who are just scraping by are being skillfully manipulated through sophisticated PR / media campaigns into thinking that they are the only real uber-patriots and to hate the wrong people. Most importantly they are fighting and voting against themselves without realizing it.

“Grave New World” Trump Cemetery. Continue reading HERE


No. 11

Borondo Finds Community on The Island Of Utsira in Norway

Borondo. Utsira. Utsira, Norway. Summer 2018. (photo courtesy of the organizers)

From BSA:

Today we revisit Utsira, the tiny island in Norway that has hosted a few Street Artists over the last couple of years, like Ella & Pitr and Icy & Sot. This year the fine artist and Street Artist Gonzalo Borondo blended into the hills and the forest and the lapping waves, making his spirit dissipate into the community and into a boat.

“There’s a strong sense of community,” he says as he reflects on the metaphor he has chosen to represent his time here on an island of only 420 people, “There is a mutual support among citizens and a common feeling of enjoying the same unique condition.”

Borondo Finds Community on The Island of Utsira in Norway. Continue reading HERE


No. 10

Nespoon Casts a Lace Net Across a Sicilian Wall

NeSpoon. Emergence Festival. Catania, Sicily. March 2018. (photo © courtesy of NeSpoon)

From BSA:

Equally gifted in the heavier handmade artisanal crafts of porcelain and ceramic as she is with aerosol, Nespoon did installations of both this month during the Emergence Festival in Sicily (Valverde + Catania. The seventh year of this international festival for public art, Nespoon shared the roster with American Gaia and Sicilian Ligama from March 10-26 creating works related to the city and its stories. In many respects these new works appear integral, interventions that belong there, may have been there a long time without you noticing; a sort of netting that holds the skin of the city together.

Nespoon Casts a Lace Net Across a Sicilian Wall. Continue reading HERE


No. 9

No Callarem: Street Artists Paint As Protest in La Modelo Prison, Barcelona

Enric Sant. La Modelo, Barcelona. (photo © Fer Alcalá)

From Fer Acala on BSA:

One of the direct actions organized by the platform for fighting against Partido Popular’s civil rights oppression was to film a video clip featuring some of the most renowned lyricists on the scene as Frank T, Elphomega, Los Chikos del Maíz, La Ira, Rapsusklei, and César Strawberry, among others, at the old La Modelo prison. The location is an accurate metaphorical scenario when you are seeing that your liberty is being cut off thanks to laws like ‘Ley Mordaza’.

The song ‘Los Borbones son unos ladrones’, which alludes directly to the Spanish monarchy, includes some excerpts from some of the songs created by rappers serving a prison sentence. The video clip for the song, which you can watch at the end of this article, has become viral and almost all media outlets in the country are speaking about this big shout-out in the name of freedom.

No Callarem. La Modelo Prision. Barcelona. Continue reading HERE


No. 8

NemO’s, Ericailcane and Andrea Casciu Ride a Tandem Resistance In Bologna, Italy.

Ericailcane. Pennelli Ribelli Festival. Bologna, Italy. October 2018. (photo © NemO’s/Andrea Casciu)

From BSA:

Highlighting collective efforts that advance events during war and the tales of heroism, butchery, resistance, intrigue, and subterfuge that are braided into historical retelling, three Italian Street Artists commemorated citizen resistance and a Nazi massacre in a lengthy mural for the Penneli Ribelli Festival this month in Bologna.

At the center of the story is the resistance by everyday Italians of various ages, genders, and social classes, a movement known as the Italian resistance and the Italian Partisans, or Partigiani. The icon of the festival is a wolf in honor of the Partisan who led the group, Mario Musolesi, whose nickname was “Lupo”, or “Wolf”.

NemO’s, Ericailcane and Andrea Casciu Ride a Tandem Resistance. Continue reading HERE


No. 7

“Martha” the Movie: Selina Miles’ Most Ambitious Project To Date

Martha Cooper (photo © Selina Miles)

From BSA:

We knew that these two talented and powerful personalities would compliment each other stunningly and that’s why we encouraged them two years ago to do a doc. A short term one was the original plan. But the two hit it off so well and when you are looking at a five decade career like Ms. Cooper’s and you have the dogged determination to do her story justice, Ms. Miles tells us that even an hour and a half film feels like its just getting started.

Now “Martha” the movie is at a unique juncture in the project and YOU may be able to participate; Selina and the team are looking for any original footage you may want to show them – and it may be used in the documentary.

“Martha” The Movie. Selina Miles Most Ambitious Project To Date. Continue reading HERE


No. 6

DavidL Paints Hitchcock, Warhol, Tim Burton, Kubrick: Through The Lens of Fer Alcala

DavidL. ET. Fraggle Rock. Spain. (photo © Fer Alcalá)

From BSA:

After 25 years writing graffiti, DavidL has found his own way of working. It’s funny because one of the inherent issues about graffiti and street art is visibility. All the trains, the bombing, the tagging…it’s all about being noticed, being every f-ing where. It has been like this since day one (Taki 183, Terror161, 1UP…you know how it works).

But for David it’s not like that anymore.

Maybe it’s a sign of the days that we are living with social media, communication 2.0, etcetera. It’s obvious that if you have certain skills managing all this and a little bit of talent, plus a pinch of good taste, you can reach a global audience and show your work to the entire world even when you are concentrating the majority of your creations in a secret location.

DavidL, Through The Lens of Fer Alcala. Continue reading HERE


No. 5

BSA Images Of The Week: 09.30.18 – UPEA Special

SMUG. UPEA 2017. Kotka, Finland. (photo © Jaime Rojo)

From BSA:

This week we have a selection of the UPEART festivals’ two previous editions of murals – which we were lucky to see this week after driving across the country in an old VW Bora.

We hit 8 cities and drove along the border with Russia through some of the most picturesque forests and farmlands that you’ll likely see just to collect images of the murals that this Finnish mural festival has produced with close consultation with Fins in these neighborhoods. A logistical challenge to accomplish, we marvel at how this widespread program is achieved – undoubtedly due to the passion of director Jorgos Fanaris and his insatiable curiosity for discovering talents and giving them a platform for expression.

UPEA Special. Continue reading HERE


No. 4

‘Wandelism’ Brings Wild Change for One Week in Berlin

Marina Zumi. “Wandelism”. Berlin, Germany. (photo © Harald Geil)

From BSA:

When I was asked how to name the exhibition few weeks ago, I merged the words “vandalism“ and “Wandel“ (the German word for “Change“). That’s how Wandelism (or Changeism) was born and how it started transforming itself into an exhibition, which is truly accepting, embracing and living CHANGE.

On the grounds of a former car repair shop that is soon to be demolished, one can literally feel the constant movement and transformation of the urban fabric we all live in. Everything changes. Constantly. Change is evolution. Change is progress. Change is also the DNA of the art represented in the Wandelism show.

Wandelism” Brings Wild Change For One Week in Berlin. Continue reading HERE


No. 3

Scenes from Eugene: Murals of the 20x21EUG Festival in Oregon

Alexis Diaz. 20x21EUG Mural Project / 2018 Edition. Eugene, Oregon. (photo © Martha Cooper)

From BSA:

The city of Eugene in Oregon is preparing for the 2021 IAAF World Athletics Championships and like many cities these days it is transforming itself with murals.

With a goal of 20 new murals by ’21 (20x21EUG), the city began in 2016 to invite a slew of international Street Artists, some locally known ones, and a famous graffiti/Street Art photographer to participate in their ongoing visual festival.

A lively city that is bustling with the newly blooming marijuana industry and finding an endless array of ways to celebrate it, Eugene has been so welcoming that many artists will report that feeling quite at home painting in this permissively bohemian and chill atmosphere.

Scenes From Eugene: Continue reading HERE


No. 2

Winston Tseng: Street Provocateur Brings “Trash” Campaign to NYC

Winston Tseng (photo © Jaime Rojo)

From BSA:

“At the end of the day when one is towing the line of being provocative, you may cross that line in some people’s mind but I think if one is not trying to find that line then the work is not going to make any impact”.

Winston Tseng has probably been crossing that line, pissing off some people and making others laugh for a few years now. He appears to consider it an honor, and possibly a responsibility. Relatively new on the Street Art scene the commercial artist and art director has also created his 2-D characters on canvasses and skate decks that depict the abridged characteristics of a typecast to play with the emotions and opinions of passersby.

Winston Tseng: Street Provocatour Brings “Trash” Campaing to NYC. Continue reading HERE


No. 1

OKUDA Sculpture Engulfed in Flames for Falles Festival in València

Okuda. Fallas 2018. Valencia, Spain. (photo © Martha Cooper)

From BSA:

Yes, Street Art is ephemeral, but OKUDA San Miguel just set it on fire!

During the annual Falles de València celebration, it’s normal for artworks to be destroyed publicly in about 500 locations throughout the city and in surrounding towns. Part of a spring tradition for València, Spain monuments (falles) are burned in a celebration that includes parades, brass bands, costumes, dinners, and the traditional paella dish.

This year the first Street Artist to make a sculpture in the traditional commemoration of Saint Joseph is the un-traditional OKUDA, creating his multi-color multi-planed optic centerpiece.

Okuda Sculpture Engulfed in Flames in Valéncia. Continue reading HERE


We wish to express our most heartfelt gratitude to the writers and photographers who contributed to BSA and collaborated with us throughout the year. We are most grateful for your trust in us and for your continued support.

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Top 15 Videos On BSA Film Friday From 2018

It’s BSA Film Friday! Now we present the best of the year, according to you. We bring you new videos each week – about 240 of them this year. The beauty of the experience is that it can feel quite random and exhilarating – rather like the serendipity of finding new Street Art.

You helped us decide who made it to the top 15 – and we feel proud to see some of these because we liked them too. When we take videos on the road to different cities and countries doing our BSA Film Friday LIVE we also like to share these in classrooms or theaters or lecture halls with locals, students, city leaders. Nothing can beat seeing faces light up, a person thrilled to finally get the sense of something, better understanding the scene, helping people with a new way to look at art in the streets.

The best part is many of these videos encourage you to create, to co-create, to actively participate in public space with meaning and intention. As a collection, these 15 are illuminating, elevating, riveting, strange, soaring, secretly otherworldly, and achingly beautifully human.

Special congratulations go out to artists/directors Kristina Borhes & Nazar Tymoshchuk who landed on the list two times this year, including the number 1 position. Their work is about the intersection of art and theory and life, how to create it, to see it, and how to re-see your world.

We hope you can take some time to enjoy some of the best Street Art videos from around the world and on BSA this year.


No. 15

Fatheat and TransOne/”The US Tapes”

From BSA Film Friday 06.01.18

“Listen, my only request…. When you’re done doing your thing, do an Italian flag with my daughter’s name on it,” says a guy who is shouting up from the street to the roof where two Hungarian graff writers are preparing to hit a wall with a giant rat in Jersey. That rat looks fantastic as it basks in the blinking glow of the marquee for Vinny Italian Gourmet on the streets in the Newark night below.

That scene alone can stand as their American iconic moment for the US Tapes, but Fatheat and TransOne documented a number of golden moments on their trip this winter to New York, Wynwood, LA, and Las Vegas. Travel with them as they try to square the television mythology of modern America with the one they are encountering in all its ridiculous free-wheeling self satisfied unreflective emotional consumerist funkified freedom*.  Standby for sonic blasts from the cultural pulp soundbook and prepare for a celebrity visit.

Slyly they observe and sample and taste and catalogue the insights by traversing the main stage and the margins, smartly not taking it too seriously, finding plenty of places for wide-eyed wonder and wiseguy sarcasm. Steeped in graffiti history with mad skillz themselves, this is all an adventure. Generous of heart, they also share it with you.

Ready for your Friday road trip?

No. 14

Nadia Vadori-Gauthier/”One Minute Of Dance”

From BSA Film Friday 10.26.18

“And lost be the day to us in which a measure hath not been danced.” ~ from Nietzsche’s Thus Spake Zarathustra


Every day since the shootings of artists and journalists at the Charlie Hebdo offices on January 14, 2015, dancer Nadia Vadori-Gauthier has made sure to dance for a minute or more. It sounds like a good idea.

“Without editing or effects, in the place and state of mind I find myself that day, with no special technique, staging, clothing, or makeup, nothing but what is there,” she says on her website.

“I dance inside or outside, in public or private places, alone or with others, strangers or people I know, sometimes friends.

I dance as protesters demonstrate, to effect a living poetry, to act through sensitivity against the violence of certain aspects of the world.

This is the solution I found: an action to my own measure, a concrete, repeated action that may redraw lines, disrupt the design, shake up the norms.”

Here she is in Paris on Esperance Street in front of a mural by Street Artist Seth.

No. 13

1UP Crew – Selina Miles /”Graffiti Olympics”

From BSA Film Friday 03.02.18

All the subversive drama of a terrorist cell, all the color of Mardi Gras, all the pomp and ceremony of an Olympic triathlon. Wielding the long-handled roller like a javelin in the hands of Järvinen, weight lifting multiple backpacks full of paint cans, climbing and jumping walls with speed and dexterity, the 1UP team goes for the gold.

Debuting today on BSA is the flaming new 1UP crew video directed by the ingenious Selina. Slicing the streets with the drone camera like a hot knife through butter, she follows the unruly yet highly organized vandals from overhead in a manner more melodic than menacing as Miles lines up one shot after another in this instantly classic continuous thread of aerosol mayhem.

Passing the aerosol can like a baton, this relay race puts 1UP over the finish line while many rivals would have just blasted out of the blocks. But will those Olympian circles turn into golden handcuffs before the closing ceremony?

No. 12

Banksy /”Banksy in Paris”

From BSA Film Friday 06.29.18

A quick overview to catch you up on the 7 most recent pieces attributed to Banksy in Paris. He’s said to be creating work more attuned to the plight of migration, but others have observed it is a return to the classic Banksy sarcastic sweetness that has characterized the clever sudden missives he has delivered since he began. See Butterfly Art News’ coverage here: Paris: Banksy for World Refugee Day

No. 11

Street Atelier /”Rocco And His Brothers”

From BSA Film Friday 04.13.18

It’s an Italian movie directed by Luchino Visconti in 1960, yes. It is also the name of a crew of Berlin graffiti/installation artists whose satirical interventions play on issues propriety and property – and on social experiments that dupe the media, the public, and banks.

Did they really set up an apartment inside the subway? Is that really the tracks and wall of a metro inside a gallery? Is that Wagner playing in the mobile war arcade set up in the Christmas market? Are those hand grenades being lobbed by children? Is the bank facade blinking red every 20 seconds?

Rocco und seine Brüder (Rocco and His Brothers) have you engaged. Now you have to answer the questions.

Shout out to Red Tower Films for the great storytelling.

No. 10

Colectivo Liquado /”Pandereteras” at Parees Art Festival.

From BSA Film Friday 11.23.18

The Uruguayan Street Artists/muralist Florencia Durán and Camilo Nuñez are “Colectivo Licuado” and here in the middle of Oviedo in Northern Spain to create a new mural for the Parees fest this September. As is their practice they study the culture that they are visiting and create an allegory that is familiar to the community, if still rather mystical.

In this case they visit Colectivo Licuado & Nun Tamos Toes for a visit of great cultural exchange – sharing sketches, songs, and learning the history of women’s roles in traditional Asturian culture. The resulting mural project is collaborative in nature and powerful in person.

No. 9

YZ YSeult Digan /”Street Vendors”

From BSA Film Friday 05.25.18

“I pay attention to the intensity of the gaze and the posture, so the passerby is challenged and seeks to question the project.”

A sociological experiment and intervention on the streets by the French Street Artist YZ takes place in Abidjan and camera work in the crowds allows you to appreciate the action on the street. A city of 4.7 million people and the economic capital of Côte d’Ivoire, the city has a lively culture of street vending that is unregulated and often populated by children.

YZ speaks with the folks she meets who are vending, who she refers to as “girls” although many are women. Her goal is to better understand them, she says, and to create a Street Art campaign of their portraits.

“I realized that their situation was very different from the men. So I wanted to know more about them. So I started the project ‘Street Vendors’,” she says.

No. 8

Bane & Paste /”Recover – Street Art in Chernobyl”

From BSA Film Friday 02.02.18

Chernobyl is a nuclear disaster that figures profoundly into the modern age – and for centuries into the future.

Today not so many people talk about this man-made horror that killed a Russian town and chased out its survivors in 1986 just 90 kilometers northeast of Kiev. Called the most disastrous nuclear accident in history, it evacuated 115,000 and spread a radioactive cloud around the Earth, with European neighbors like Scandinavia, Switzerland, Greece, Italy, France and the UK detecting the effects of radiation for years afterward. Three scientists at The New York Academy of Sciences have estimated that over time the number of people killed by effects from the meltdown was almost a million.

Because of the nature of radiation, Chernobyl has been estimated to not be safely habitable for about 20,000 years.

No. 7

Gonzalo Borondo /”Matiére Noire”

From BSA Film Friday 07.06.18

A short documentary today taking us through last autumns On October 7th in Marseille, France in collaboration with Galerie Saint Laurent and Spanish artist Gonzalo Borondo as they presented Matière Noire. A massive collection of individual installations that took over the top floor of an exhibition space normally used for shops, Borondo’s influence in the selections is throughout, a story told in three acts on Projection, Perception and Interpretation.

No. 6

Shepard Fairey/Johny Cash

From BSA Film Friday 09.14.18

“When I was just a baby, my Mama told me, ‘Son, always be a good boy, don’t ever play with guns.’ But I shot a man in Reno just to watch him die.” Johnny Cash sings with some bravado in Folsom Prison Blues on an album released 50 years ago this year. Street Artist Shepard Fairey honors the album and here in Sacramento, California to raise consciousness about the outrageously high rate of incarceration here. “The United States has 5% of the world’s population but 25% of it’s prisoners,” he says, making you question the system in the Land of the Free.

No. 5

MZM Projects – Kristina Borhes & Nazar Tymoshchuk/”Wasteland Wanderers”

From BSA Film Friday 10.05.18

This week we feature a couple of new film pieces from the Ukraine based duo of Kristina Borhes and Nazar Tymoschuk which fairly present an insightful treatise on a particular flavor of Post-Graffiti. Think of it as a two volume textbook and your professors will guide you through the darkness into the light.

A Dilogy.

“The place tells you what to do,” is a poetic and truthful phrase uttered in “Night” on the relationship a vandal has to an abandoned factory, school, home, medical facility; it is spacial and alchemical.

It is also personal, says the female narrator. “The presence of their absence,” is something that every Wasteland Wanderer will be familiar with, the knowledge and feeling that others have been there before you. The work is undeniably affected, even created in response.

“Echoes, whispers, shadows, lines.”

No. 4

FWTV/”On The Road With Add Fuel”

From BSA Film Friday 03.16.18

“I’ve started a new series called ‘On the Road’ which looks at life behind the scenes in street art culture,” Doug Gillen tells us about this debut episode. Look forward to Doug’s unique perspective on Street Art festivals, art fairs, and studio visits as he expands to the world of urban contemporary.

Not typically who you think of as a Street Artist, here we see Add Fuel and Doug talk about his first book and you see examples of work from this tile maker who infuses traditional Portuguese techniques and pattern making with pop-modern cultural references and cartoon archetypes.

No. 3

Chip Thomas

From BSA Film Friday 04.06.18

He has a hat, sunglasses, and he has been creating huge black and white photo installations of people wheat-pasted to the sides of buildings for how long? Surprising to us that Jetsonorama is not more of a household name in Street Art circles – his work is solidly tied to biography and human rights, uses his own photography, and routinely elevates humanity – and has been doing it for some time now.

Why isn’t he in huge museum exhibitions?

Today we have a new video giving you a good look at the work and the artist along with the genuine connection and presence that he has with community, taking the time to share their stories.

No. 2

Vegan Flava/”While They Seek Solutions”

From BSA Film Friday 01.19.18

“The speed of ruin is just something else,” says Street Artist Vegan Flava, and it’s an exasperating realization. Extrapolated to thinking about the enormous war industry, and there is such a thing, you realize that pouring money year after year into ever more sophisticated and destructive weaponry only results in broken bridges, buildings, water systems, vital infrastructure, lives.

Construction, on the other hand, can be arduous and time consuming, takes vision, planning, collaboration, and fortitude. Like great societies.

How quickly they can be eroded, destroyed.

But since Vegan Flava is creating during this destructive enterprise, you get a glimpse into his creativity, and sense of humor. Similarly the psychographics of this story and how it is told reveal insights into the artist and larger themes.

“A drawing, an idea on a piece of paper, can swiftly grow into something larger, thoughts and actions leading to the next. But creating something is never as fast as to tear it to pieces. The speed of ruin is just something else,” he says.

No. 1

MZM Projects – Kristina Borhes & Nazar Tymoshchuk /”Aesthetic of Eas”

From BSA Film Friday 01.12.18

“We wanted everything to occur naturally in this movie. We wanted to achieve spontaneity,” say film makers Kristina Borhes and Nazar Tymoshchuk about their up close look at graffiti writer/abstract painter EAS. In this new film they have captured the creative spirit in action as unobtrusively as they could, allowing the artist to speak – in a way he never does, they say.

Today on BSA Film Friday we’re proud to debut this new portrait by three artists – one painter and two film makers – to encourage BSA readers to take a moment and observe, inside and outside.

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“Martha” the Movie: Selina Miles’ Most Ambitious Project To Date

“Martha” the Movie: Selina Miles’ Most Ambitious Project To Date

The Director Invites You to Participate in the New Documentary

The rising star film director who has captured and woven riveting narratives of artists and graffiti virtuosos like Melbourne’s Sofles and the ultimate train-jumping outlaws 1UP Crew from Berlin – verifiably raising their respective games and profiles in the process – Brisbane’s Selina Miles has been tackling a graffiti/Street Art juggernaut right before our eyes; a full scale movie-length documentary on famed New York photographer Martha Cooper.

Martha Cooper (photo © Selina Miles)

We knew that these two talented and powerful personalities would compliment each other stunningly and that’s why we encouraged them two years ago to do a doc. A short term one was the original plan. But the two hit it off so well and when you are looking at a five decade career like Ms. Cooper’s and you have the dogged determination to do her story justice, Ms. Miles tells us that even an hour and a half film feels like its just getting started.

Now “Martha” the movie is at a unique juncture in the project and YOU may be able to participate; Selina and the team are looking for any original footage you may want to show them – and it may be used in the documentary.

Martha Cooper. Subway Art (photo © Selina Miles)

We have an amazingly involved, interconnected, and brilliant audience of BSA readers across the time zones, so she’s asking you first. Please click this link and let Selina and Martha know if you might have something to show them.

Specifically right now the team  is looking for:

1.     Historical photos and video of artists interacting with “The Holy Book of Graffiti”, Subway Art, by Martha Cooper and Henry Chalfant, and

2.     Modern day footage of Martha Cooper going to any and all lengths to get the shot.

Read more at “Martha” the Movie and please contact them ASAP.


In an exclusive interview director Selina Miles today shares with Martha Cooper fans some unseen images from making the movie. She also gives insights into what it has been like making the biggest movie ever produced about the famed photographer.

Martha Cooper. Archives. (photo © Selina Miles)

Brooklyn Street Art: What gave you the idea to do a documentary about Marty?
Selina Miles: As with most of us interested in graffiti, I knew of Marty’s book Subway Art from a young age. We first met at ONO’U Tahiti Graffiti Festival in 2014, and I was immediately taken with her approachable, passionate and vibrant character. In 2015, I had been working on a series called “Portrait of an Artist,” an anthology of 10 minute documentaries profiling artists, and a good friend asked me “Who’s next?.” Martha was an obvious choice.

We both returned to Tahiti the following year for the same festival. Seated around a dinner table with a group of artists, I casually asked “When do you think you’ll be in New York next?” she replied “I’m not sure, why?” I ended up asking her right on the spot if I could make a film about her, in front of the whole group. It felt very much like awkwardly asking out a prom date. Luckily she said yes.

Martha Cooper at work at the Houston/Bowery Wall in NYC with Pichi & Avo. (photo © Selina Miles)

BSA: Is it true that at the start of the project you were thinking of doing a short film?
Selina Miles: The following February, I had just finished directing my biggest TV commercial yet, and wanted to the use bigger-than-usual pay check to do an ambitious project. I booked myself a 2 week trip to New York, as well as a ticket for Marcus Autelli, an amazing cinematographer from London. Our mission was a 10 minute piece.

Like so many fans of Martha’s work, I discovered her through the graffiti subculture. I did my best to research before the trip. I scoured Youtube and Vimeo for videos and interviews with Marty, flicked through Subway Art, pored over Street Play, re-watched Style Wars and thought I had done a pretty good job.

Martha Cooper. Archives. (photo © Selina Miles)

When I arrived in New York, Marty met me at her train station, and together we walked to her studio. She gave me a key and pointed me in the direction of her archives. Large folders lined the shelves. I still remember the first time reading those labels, hand-drawn in Marty’s signature authoritative, all-caps handwriting. “Windsurfing.” “Korea.” “Tunisia.” “Israel.” Each one full to the brim with boxes of Kodachrome mounted slides, stamped and dated.

The first person Martha suggested I interview was her good friend Susan, who flew down from her home in Maine to speak to me. It wasn’t until a few days before the interview that I learned that “Marty’s friend Susan” was actually Susan Welchman, photo editor of the New York Post and of National Geographic Magazine for 35 years. I began to learn of Martha’s incredible, rich photographic career, too often obscured behind the monumental popular reverence for her graffiti work.

Martha Cooper with her longtime friend Susan Welchman, the former photo editor at The New York Post and Senior Picture Editor at National Geographic  (photo © Selina Miles)

I realized with a combination of terror and excitement that I was facing much more than a 10 minute graffiti video. That this was the story of a photographer who had shaped entire generations of a worldwide subculture. A woman whose camera had witnessed historical events from the 1960s until now, whose story was deeply entangled with that of New York City, whose work had touched so many lives across boundaries of time and place and culture. And most importantly, a story that was relatively unknown, absolutely begging to be told, and that Martha had put her faith in me to tell that story.

It was then that I realized that 10 minutes wasn’t going to cut it.

Martha Cooper. Graffiti Writers. (photo © Selina Miles)

BSA: Is there anything call “a typical day” when you are following Marty in her travels?
Selina Miles: There is never a boring moment when you’re with Martha. What she has can’t even be described as work ethic, because she doesn’t see photography as work. It is just who she is, and there is nothing else. She will go anywhere, any time, to any extreme to do the projects she wants to do.

That being said, there are certain consistencies in her days. Any time she is presented with a window of downtime of more than 3.5 seconds, she is playing Pokemon Go. When it comes to food, Marty frequents exactly 2 restaurants in New York, both 4 blocks or less from her apartment. In total she has about 4 dishes on rotation, supplemented on particularly busy days by Lunchables, ready-made snack packs of deli meats and Oreos.

Martha Cooper. Pokemon fun with Steven P. Harrington at Metro Diner in NYC. (photo © Selina Miles)

It is well documented that many successful entrepreneurs and geniuses keep rigid routines or wear the same clothes every day as a way to save precious cognitive resources for what they really love to do. Marty is no exception. My best tip for anyone lucky enough to share a lunch with her – you have about 30 seconds to decide on your order before her patience runs out.

Marty’s life is chaos wrapped in deeply ingrained habit, on a bed of compulsive, obsessive collecting and photo-taking. An ideal combination for a documentary subject.

Martha Cooper. SIM cards from her international travels. (photo © Selina Miles)

BSA: You have unprecedented access like no one ever before to the archives of 50 years. It must to have felt overwhelming sometimes.
Selina Miles: Most of my career has focused on making short films where the objective is creating something out of nothing. This project is the opposite. The real challenge is to distill 50 years, 17 published books, hundreds of travel destinations and more than an estimated half a million images into a singular, watchable 90 minutes. In this case, making a good film is as much about what you choose to leave out as what you include.

Martha Cooper. Archives. (photo © Selina Miles)

My team and I have collected archive from every major medium, from Super 8 film, to VHS, to DV tapes, to our own 4K video. We have searched high and low over the 19 months working on this project, and there hasn’t been a week that we don’t discover some essential snippet of the story. Friends and colleagues of Marty have sent in material from South Africa, Prague and Germany. Her ex husband’s basement held over 6000 feet of Super 8 home movies, unseen since the ‘80s.

This constant digging and discovery is anxiety inducing, chasing leads that never end, having nightmares of dusty tapes sitting in a basement somewhere that could unlock all the answers if only I could find them. On the flip side, the elation that comes when you find that perfect piece makes it all worth it.

Martha Cooper. Archives. (photo © Selina Miles)

BSA: Were you able to speak to individuals whom you considered to be close to Martha personally or professionally?
Selina Miles: Out of every subject we approached, all but one agreed, the exception being a prominent anti-graffiti policymaker from New York City during the early ‘80s.

I interviewed in 6 cities and had material translated in 4 languages. I spoke to friends and family, peers, cultural commentators, graffiti writers. Each contributor was more varied and vibrant than the last. After the interview, when I would thank each contributor for their time, they would often respond with the same phrase, jumping out at me like a mantra – “Anything for Martha.” It became quite ridiculous how often I heard this exact phrase coming from everyone from kids at the skate park in Baltimore to curators at major New York museums. Access was not an issue on this project.

BSA: Can you share a special insight that you gained one day with her?
Selina Miles: I have been inspired in so many ways by this project, but I would say the most significant lessons I took away from the Marty Cooper approach to life would be to take risks, embrace failure, never grow up, and choose your own path in life. Although it takes place in very fantastical world full of weird and wonderful characters, Marty’s story is full of extremely universal, relatable human experiences, failures and triumphs. I hope that in watching the film, each viewer can find their own insights and take home lessons within her story.

Martha Cooper with the Brazilian twins Os Gemeos. (photo © Selina Miles)

BSA: You live In Australia and Martha lives in Manhattan. How do you make a feature film documentary when you have to travel such long distances?
Selina Miles: Firstly I am very fortunate to have built a freelance career that allows me to work when and where I choose. I can definitely encourage anybody thinking of making that leap to go for it. Not having a boss that you need to ask for time off makes it much easier. Secondly, being Australian you get really used to working weird time zones and traveling long distances. Modern aviation is a wonderful thing! Get on a plane, fall asleep for 14 hours, wake up and you’re in a different country! How cool is that!

Martha Cooper. Archives. (photo © Selina Miles)

Our world is so connected now, and filmmaking has become infinitely easier than it was for previous generations. Martha Cooper traveled the world photographing for National Geographic before the days of digital photography. She would have to physically purchase, carry, store, develop and print the hundreds of thousands of exposures of film required for one story.

She constantly battled against the physical mass and cost of that medium. This made photography or filmmaking accessible only to those with a formal education and money. We don’t have any of those issues anymore, anyone can walk into a store and purchase a $500 camera and a hard drive and start a career as a photographer or a documentary filmmaker. This project has given me a greater appreciation for how easy we have it now, and for the skill that was required to shoot on film.

A Subway Art fan clutching his copy close while looking at some of Martha Cooper’s more recent Street Art photography. (photo © Selina Miles)

BSA: Martha was one of the first documentors of the graffiti scene. What will the audience learn about how Martha first found out that she wanted to document the graffiti movement?
Selina Miles: It is my firm belief that I cannot make a film that will do anything for the documentation of early graffiti that wasn’t done by Style Wars in 1983, but I hope that the graffiti community leaves this film feeling well represented, and with greater context of how Martha Cooper became the legend we regard today.

BSA: How can people help you complete your film?
Selina Miles: Right now we are wrapping up our last month of post production, and searchin over the last few weeks we have been able to dig for new archival material. If anybody out there has footage of Marty, no matter what quality or how big or small, please send it to me! It might be just the bit that I am missing.

Marty’s story is such an international one, it’s so great to receive clips showing her at work in different locations around the world. Every little bit helps really bring to life the incredible bond that is shared within the graffiti and street art communities.

Martha Cooper. Archives. (photo © Selina Miles)

The slides of early tags were a selection for a chapter in Martha’s book “Hip Hop Files”.  “Make Your Mark” was a possible chapter heading she and the publisher eventually decided not to use. It comes from a 1982 anti-graffiti poster Koch put in the subways saying “Make your mark in society not on society.” It became a joke among graff writers, still remembered and quoted today.


Please click this link and let Selina and Martha know you might have something to show them.

Specifically right now the team  is looking for:

1.     Historical photos and video of artists interacting with “The Holy Book of Graffiti”, Subway Art, by Martha Cooper and Henry Chalfant, and

2.     Modern day footage of Martha Cooper going to any and all lengths to get the shot.

Read more at ” ‘Martha’ the Movie’ ” and please contact them ASAP.


www.marthathemovie.com

Instagram.com/marthathemovie

Facebook.com/marthathemovie

 

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BSA Film Friday: 03.02.18 / 1UP Special / Graffiti Olympics In Athens

BSA Film Friday: 03.02.18 / 1UP Special / Graffiti Olympics In Athens

bsa-film-friday-JAN-2015

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. 1UP is Fire in “The Graffiti Olympics”: Selina Directs

bsa-film-friday-special-feature

BSA Special Feature: 1UP is Fire in “The Graffiti Olympics”: Selina Directs

All the subversive drama of a terrorist cell, all the color of Mardi Gras, all the pomp and ceremony of an Olympic triathlon. Wielding the long-handled roller like a javelin in the hands of Järvinen, weight lifting multiple backpacks full of paint cans, climbing and jumping walls with speed and dexterity, the 1UP team goes for the gold.

Debuting today on BSA is the flaming new 1UP crew video directed by the ingenious Selina. Slicing the streets with the drone camera like a hot knife through butter, she follows the unruly yet highly organized vandals from overhead in a manner more melodic than menacing as Miles lines up one shot after another in this instantly classic continuous thread of aerosol mayhem.

Passing the aerosol can like a baton, this relay race puts 1UP over the finish line while many rivals would have just blasted out of the blocks. But will those Olympian circles turn into golden handcuffs before the closing ceremony?

“GRAFFITI OLYMPICS” Directed by 1UP & Selina. Drone photography by Selina.
Feating @goodguyboris and #BerlinKidz @1upcrewofficial @s__e__l__i__n__a__

1UP . Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP / Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP / Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP / Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)

 

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BSA Film Friday: 01.05.18

BSA Film Friday: 01.05.18

bsa-film-friday-JAN-2015

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. ONO’U Tahiti 2017. A video re-cap by Selina Miles
2. Private View: Ian Strange via Nowness
3. Desprestigio by Pejac
4. Bonus Video. What the hell is a “Bomb Cyclone”?

bsa-film-friday-special-feature

BSA Special Feature: ONO’U Tahiti 2017. A video re-cap by Selina Miles

There is so much going on that you might miss during a mural festival. Aside from the progress of the artists at different rates in various locations around a city, which is a standard expectation, each festival is so unique in its personality and people that you cannot predict what you are likely to see next.

In Tahiti you can expect gorgeous natural beauty, and with ONO’U you can also expect a fashion show, a live projection mapping with the community, a panel discussion, a museum opening, delicious foods, flowers in your hair, and stories about the native people, wildlife, religious customs, colonialism, the value of the currency, and face painting. That’s before the weekend.

Filmmaker Selina Miles takes you up above it and directly streetside, a clear-visioned romantic who sees the beauty and the eclectic nature of our nature. Today we’re pleased to show her wrap up of October’s events in French Polynesia on the islands of Tahiti and Raiatea.

Private View: Ian Strange via Nowness

Continuing the attack on sublime suburbia to gain vengeance on the evil within, former Street Artist Kid Zoom, now Ian Strange, has the funding to do large and elaborate decimations and capture them on film for exhibition. Here is a private view, as it were, of a series of private matters made public.

 

Desprestigio by Pejac

Prestigious indeed.

A riveting bit of documentary storytelling that leads you to his newest artwork, Pejac takes a glocal story and reveals the folly of man. It happened 15 years ago, and is happening every few days all over the globe while the Earth’s economy is still firmly in the grip of the oil industry.

“This piece talks about the tragedy (of Prestige) that covered the coast of my country (and my region) in black 15 years ago, and whose damages to nature are still visible today,” says Pejac.  “I chose this particular case, but want to extend it to all the environmental tragedies that happen on our seas and oceans every few years. Desprestigio works as a dark souvenir of a fact that should not be forgotten: we must, and can, be much better guests on Earth. After all, this work is a message in a bottle.’’

Bonus Video. What the hell is a “Bomb Cyclone”?

We started this week’s Film Friday with Tahiti’s tropical weather and end it with our own Jaime Rojo wading through the snow in New York’s Central Park yesterday for what the news services informed us all was called a “bomb cyclone”. For most of us, it looked like a snowstorm. The blustery wind and the snow and rapidly dropping temperatures meant that many stayed inside and many took the opportunity to see the natural beauty of this whitewashing of the urban environment. Here are a few choice shots Rojo got yesterday for you from right in the middle of Manhattan.

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