All posts tagged: Steven P. Harrington

Various & Gould “Übergang”

Various & Gould “Übergang”

Berlin is a city that rarely leaves its history behind. For their newest mural, “Übergang” (“Transition”), the Berlin-based duo Various & Gould tap directly into that reality with a new addition to their ongoing “Face Time” series. If you stand between the two murals at night, you can sometimes hear two voices singing in harmony.

Various & Gould. Berlin, June 2026. (photo © Various & Gould)

Known for their collaged, glitch-like portraits, punchy color palettes, and sharp social observations, Various & Gould have spent nearly two decades cutting apart and reassembling identities. Drawing equally from hand-cut collage, painting, graphic design, and a bit of Dadaist mischief, their faces fracture, merge, and reform into new personalities that challenge fixed ideas about identity, belonging, and difference.

Various & Gould. Berlin, June 2026. (photo © Various & Gould)

Here, a face pulls apart into two halves, each looking in a different direction — a subtle response to a site that once formed part of the Berlin Wall strip and a border checkpoint. Rather than illustrating history directly, the artists suggest themes of separation, transition, and connection through a single divided portrait.

The location adds another layer to the story. Directly opposite stands a portrait mural the duo painted eleven years ago. Today the two faces look toward one another across the street, creating an unexpected dialogue across a place that once marked division. Created for Kolping Jugendwohnen, a new residence for young adults in education and apprenticeship programs, “Übergang” offers future residents a thoughtful reminder that every neighborhood has a story, and sometimes the walls are still telling it.

Various & Gould. Berlin, June 2026. (photo © Various & Gould)
Various & Gould. Berlin, June 2026. (photo © Various & Gould)
Various & Gould. Berlin, June 2026. (photo © Various & Gould)
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BSA Images Of The Week: 06.07.26

BSA Images Of The Week: 06.07.26

Basketball. Football. Sidewalks. Work It.

New York, for us, is at least three things right now: the Knicks, FIFA, and the streets.

The city is dreaming of a championship for the first time since 1999. If the Knicks win Game 3 tomorrow night at home, it may be pandemonium. We even caught Spike Lee in front of a Knicks mural by Zimer this week (see below). You’ll hear even more music by Prince in the streets than you have in the last two weeks, as his anthem “1999” serenades you from bars, radios, and TV news segments covering the story. Also, happy birthday to Prince, born on this day in 1958. See you at the Prince party tonight on the roof.

Secondly, the World Cup begins any minute now, and athletes, organizers, media crews, and fans have already started pouring off planes. Daily news reports exhort all of us to do one thing or another in preparation for the arrival of thousands of visitors from around the globe. New York does this sort of thing regularly, so most of us remain focused on doing the laundry and paying the rent. Still, discussions of fan zones, shuttle bus routes, transit plans, gridlock alerts, waterfront gatherings, and neighborhood festivals are everywhere. Once again, New York is negotiating who gets to use public space—and how.

Speaking of the ’80s (the decade, not her age), Madonna popped up live in Times Square this week, turning it into a dance floor to unveil new songs, including an ode to Gotham called “I Love NY,” a pleasant way to kick off Pride Month. City Hall also hosted a Pride Ball—a ballroom culture celebration featuring voguing, runway competition, and performance. Meanwhile, Queens Pride and Brooklyn Pride are already underway.

And the walls, the murals, the street art, and the graffiti are all abuzz with news of pop icons, sports, cartoons, equality, love, masters of war, fear of inflation, fear of surveillance – it’s a whole ball of its own.

You may call it chaos.

We call it Wednesday.

Here’s our weekly interview with the streets, this time including AIC Mosaic, Atomiko, Chris RWK, Crancept, D7606, Gush, Homesick, Huetek, Little Ricky, Mike King, Nexas, Nite Owl, Puntz, Ratchi, Shane, Silent, Sluto, Staino, Stop Men, and Zimer NYC.

HUETEK (photo © Jaime Rojo)
ZIMER with Spike Lee. (photo © Jaime Rojo)
Community mural in support of the Knicks, organized by Morgan District Walls. (photo © Jaime Rojo)
Ratchi with Crancept, MTA Crew (photo © Jaime Rojo)
Little Ricky (photo © Jaime Rojo)
D7606 with Chris RWK (photo © Jaime Rojo)
HOMESICK . STOP MEN (above WK Interact) (photo © Jaime Rojo)
ATOMIKO (photo © Jaime Rojo)
GUSH (photo © Jaime Rojo)
Nite Owl (photo © Jaime Rojo)
PUNTZ (photo © Jaime Rojo)
AIC (photo © Jaime Rojo)
SILENT (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
SLUTO (photo © Jaime Rojo)
SHANE (photo © Jaime Rojo)
NEXAS (photo © Jaime Rojo)
STAINO (photo © Jaime Rojo)
Mike King (photo © Jaime Rojo)
Unidentified aritst (photo © Jaime Rojo)
Untitled. East River. Summer 2026. (photo © Jaime Rojo)

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Swoon At Woodbury House London, ‘The Life of the Work’

Swoon At Woodbury House London, ‘The Life of the Work’

A new exhibition in the UK is taking a broad look at the work of Swoon, one of the most influential artists to emerge from the early years of the street art movement, whose practice has continued to expand far beyond the walls where many first encountered it. Described by the organizers as “the first major survey of her work ever presented in the UK,” the exhibition gathers more than a decade of work, from monumental portraits and intricate cut-paper constructions to recent pieces from her evolving “Sibylant Sisters” universe.

The exhibition’s title points to what the gallery calls a “throughline” in Swoon’s practice, “the works that have traveled with her across the whole of her practice, from the early street years, to portraits drawn from decades-long community projects, to the fairytale worlds of her most recent work.” It is a compelling way to frame a career that has remained remarkably consistent even as its forms, scale, and settings have changed.

Swoon. Brooklyn, NYC. 2008. (photo © Jaime Rojo)

At Brooklyn Street Art, we’ve been documenting Swoon’s work, interviewing her, photographing her installations, and following her evolution for nearly two decades. Looking back through those conversations and images, we recognize many of the same threads identified by the exhibition: portraiture, storytelling, craftsmanship, and a continual expansion of narrative possibilities. Yet we have often understood the connective tissue somewhat differently. For us, the enduring force in Swoon’s work has been her attention to people — their dignity, vulnerability, resilience, and capacity for connection. Whether encountered as a hand-cut wheatpaste on a Brooklyn wall, a community-centered project, or a large-scale installation, the work has consistently asked viewers to see one another more fully.

That perspective may be one reason her street work has retained such power. Long before museums and major collections embraced her practice, the portraits themselves carried an uncommon intimacy into public space. They felt less like declarations and more like introductions. The walls became places of encounter.

In the images we’ve documented here, we share with you examples from the street, the studio; memories that draw upon our archive of conversations with Swoon over the years. They offer a chance to see how one artist has continued building an expansive body of work while holding fast to the human stories at its center.

Swoon. Brooklyn, NYC. 2008. (photo © Jaime Rojo)
Swoon. Brooklyn, NYC. 2008. (photo © Jaime Rojo)
Swoon. Brooklyn, NYC. 2010. (photo © Jaime Rojo)
Swoon at her Brooklyn Studio. Brooklyn, NYC. 2010. (photo © Jaime Rojo)
Swoon at her Brooklyn Studio. Brooklyn, NYC. 2010. (photo © Jaime Rojo)
Swoon. Brooklyn, NYC. 2011. (photo © Jaime Rojo)
Swoon. ICA Boston. October, 2011. Boston, Mass. (photo © Jaime Rojo)
Swoon. ICA Boston. October, 2011. Boston, Mass. (photo © Jaime Rojo)
Swoon. October, 2011. Boston, Mass. (photo © Jaime Rojo)
Swoon. Los Angeles, CA. 2011. (photo © Jaime Rojo)
Swoon. Brooklyn, NYC. 2012. (photo © Jaime Rojo)
Swoon. Brooklyn Museum. Brooklyn, NYC 2014. (photo © Jaime Rojo)
Swoon. Brooklyn Museum. Brooklyn, NYC 2014. (photo © Jaime Rojo)
Swoon. Detroit Institute of Arts. Detroit, Michigan, 2016. (photo © Jaime Rojo)
Swoon. Detroit Institute of Arts. Detroit, Michigan, 2016. (photo © Jaime Rojo)
Swoon. Detroit Institute of Arts. Detroit, Michigan, 2016. (photo © Jaime Rojo)
Swoon. Hong Kong, 2017. (photo © Jaime Rojo)
Swoon. Deitch Gallery. Manhattan, NYC. March 2022. (photo © Jaime Rojo)
Swoon. Metropolitan Museum of Art. Manhattan, NYC. March 2022. (photo © Jaime Rojo)

Swoon: The Life of the Work
Woodbury House
29 Sackville Street
Mayfair, London W1S 3DX
United Kingdom

Exhibition Dates: July 2 – August 13, 2026
Opening Reception: Details to be confirmed by the gallery.
Venue: Woodbury House, Mayfair, London.

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History on the Wall: Jahru Paints Mabel Ping-Hua Lee in DC’s Chinatown

History on the Wall: Jahru Paints Mabel Ping-Hua Lee in DC’s Chinatown

A Jahru portrait rarely stops at resemblance; it searches for character, purpose, and presence.

His reputation for revealing the character and humanity of his subjects sets his portraits apart in Washington, DC. Drawing on a background in fine art, education, and community mural practice, he creates public works that reconnect neighborhoods with people and histories that are not always visible in the civic landscape. For this new mural, created with Julia Gibb and commissioned by the 1882 Foundation, the artist turns his attention to one of the most compelling figures in Chinese American history.

JAHRU. Mabel Ping-Hua Lee (1896-1966). In collaboration with the 1882 Foundation. Washington, DC. (photo courtesy of the artist)

Located at 618 H Street NW in the heart of Washington’s historic Chinatown, the new mural honors Mabel Ping-Hua Lee (1896–1966), a scholar, minister, and suffragist whose life revealed some of the contradictions at the heart of American democracy. At sixteen, she led New York City’s suffrage parade on horseback. She earned a PhD in Economics from Columbia University and spent decades serving her community. Yet because of exclusionary immigration laws, including the legacy of the Chinese Exclusion Act of 1882, she herself was denied many of the rights she championed. That tension makes her a fitting subject for the 1882 Foundation, whose mission is to preserve and share the stories of Chinese Americans whose contributions have too often been omitted from public memory.

Ah, but xenophobia rears its head yet again today. The mural arrives at an important moment when Americans are increasingly encouraged to view immigrants and minority communities with suspicion, even as many of the cultural institutions and neighborhood touchstones that help define collective identity face mounting economic and development pressures. In Chinatowns across North America, cultural landmarks, businesses, and generations of lived experience have confronted redevelopment, displacement, and erasure.

JAHRU. Mabel Ping-Hua Lee (1896-1966). Detail. In collaboration with the 1882 Foundation. Washington, DC. (photo courtesy of the artist)

Public art cannot solve those challenges, but it can stake a claim in the public square. By placing Mabel Ping-Hua Lee’s image prominently on the street, Jahru’s mural asserts that Chinese American history is not a footnote to the American story—it is part of its foundation.

Set against a radiant, fractal-inspired field that speaks to Lee’s intellect, courage, and enduring influence, the portrait transforms a wall into a monument of recognition. As the mural reminds us, history is strongest when the people who made it are impossible to overlook. As Jahru says, “We deserve to see our heroes where we live.”

JAHRU. Mabel Ping-Hua Lee (1896-1966). Detail. In collaboration with the 1882 Foundation. Washington, DC. (photo courtesy of the artist)
JAHRU. Mabel Ping-Hua Lee (1896-1966). In collaboration with the 1882 Foundation. Washington, DC. (photo courtesy of the artist)
JAHRU. Mabel Ping-Hua Lee (1896-1966). In collaboration with the 1882 Foundation. Washington, DC. (photo courtesy of the artist)

Mabel Ping-Hua Lee (1896-1966) – 2026
Mural by Jahru, assisted by Julia Gibb
Commissioned by the 1882 Foundation
Located at 618 H St NW, in the heart of Washington, DC’s historic Chinatown neighborhood

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BSA Images Of The Week: 05.31.26

BSA Images Of The Week: 05.31.26

A scintillating selection of images this week as we travel to a Jersey boardwalk and the erupting Brooklyn scene called Bushwick Collective. The trio of foxes by Bordalo is still rocking after a year, and the small flood of international and local talent has once again transformed walls in the formerly industrial, still gritty Brooklyn neighborhood that has welcomed about 400 artists to paint here since 2011.

We had the great honor of hosting a panel discussion with 5 Taiwanese street artists this Thursday as part of the first Artist Talk ever for Bushwick Collective’s 15th Anniversary. All week, those five plus one other OG from Taipei all painted walls here – ALLO, Vasstar, Candy Kuo, Colasa, Mr. OGay, and BLACK ZAO brought high technical skills and Taiwan flavor to the already international scene here. The long weekend events included roof parties, DJ sets, and a roiling, joyful open stage with hotly spit missives that pose and bear witness to life from some of our best rap and hip-hop artists who know the streets and rightly celebrate them. As usual, it’s so local, and so international here in Brooklyn.

Stylistically, the vertical rappellers have taken over NYC these last three years or so, and overnight Thursday, one of the highest focal points was taken over by a wildly striped crew of current visual kings with aesthetic and cultural currency – taking everyone by surprise with a rapid fire battle of styles side by side – see below.

Here’s our weekly interview with the streets, this week featuring Allo, Ashley Hodder, Black Zao, Bordallo II, Chris Haven, Dad Father Son, Dae Law, Degrupo, Dzel, EXR, H Kubed, Mad Vaillan, Mendoza, Nick Sweetman, Optimo, Psylent Mushroom, Robert Vargas, Shane, Smoe, Stuo Backup, Werds, and Zach Curtis.

Bordalo II. Detail. Wooden Walls Project. Asbury Park, N.J. (photo © Jaime Rojo)
Bordalo II. Detail. Wooden Walls Project. Asbury Park, N.J. (photo © Jaime Rojo)
Bordalo II. Detail. Wooden Walls Project. Asbury Park, N.J. (photo © Jaime Rojo)
Bordalo II. Detail. Wooden Walls Project. Asbury Park, N.J. (photo © Jaime Rojo)
Bordalo II. Wooden Walls Project. Asbury Park, N.J. (photo © Jaime Rojo)
Unidentified artist. Asbury Park, N.J. (photo © Jaime Rojo)
Dae Law (photo © Jaime Rojo)
Smoe for East Village Walls. (photo © Jaime Rojo)
SHANE (photo © Jaime Rojo)
DEGRUPO. DZEL. PSYLENT MUSHROOM. MAD VAILLAN. WERDS. EXR. (photo © Jaime Rojo)
DEGRUPO. DZEL. PSYLENT MUSHROOM. MAD VAILLAN. WERDS. EXR. DAD FATHER SON. STUO BACKUP. (photo © Jaime Rojo)
ALLO. WIP. The Bushwick Collective. (photo © Jaime Rojo)
BLACK ZAO. WIP. The Bushwick Collective. (photo © Jaime Rojo)
ASHLEY HODDER. WIP. The Bushwick Collective. (photo © Jaime Rojo)
H KUBED. WIP. The Bushwick Collective. (photo © Jaime Rojo)
GIUSEPPE AMED. WIP. The Bushwick Collective. (photo © Jaime Rojo)
CHRIS HAVEN. WIP. The Bushwick Collective. (photo © Jaime Rojo)
ZACH CURTIS. WIP. The Bushwick Collective. (photo © Jaime Rojo)
ROBERT VARGAS. WIP. The Bushwick Collective. (photo © Jaime Rojo)
NICK SWEETMAN. WIP. The Bushwick Collective. (photo © Jaime Rojo)
MENDOZA CREATES. WIP. The Bushwick Collective. (photo © Jaime Rojo)
Untitled. Upstate, NY. Spring 2026. (photo © Jaime Rojo)
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The Buschwick Collective 15th Anniversary Block Party

The Buschwick Collective 15th Anniversary Block Party

Summer in New York brings an endless parade of outdoor events—concerts in parks, plays under the stars, street fairs, parades, sporting events, neighborhood gatherings, and block parties. Many remain free and open to all, making boredom nearly impossible.

And then there is the block party of all block parties: The Bushwick Collective Annual Block Party in Bushwick, Brooklyn.

Over the years, Joseph Ficalora has worked tirelessly to turn this event into something far bigger than a festival. At its heart, it remains a labor of love and a gift to the community that raised him. “I choose to measure my success by the impact on my community, my loved ones, and those in need,” Joe says — and that spirit still defines the event fifteen years later.

This year marks the 15th anniversary of The Bushwick Collective, making this edition—held on Saturday, May 29—especially meaningful. The first gathering was humble — a pig roast shared among family and friends. Five artists were invited to paint in the streets: Jim Avignon, The Yok & Shyro, Gabriel Specter, and COST. It feels like another era now. Since then, the neighborhood itself has transformed, with new restaurants, music venues, nightlife spots, and apartment buildings reshaping Bushwick’s streets. The block party has grown, too, evolving into a massive annual event that draws visitors from around the world. Yet somehow Joe and his team have managed to preserve its original heartbeat: it is still free, still rooted in the neighborhood, and still feels like a real community celebration.

Artists from New York City, across the United States, and from countries around the globe arrive each year to leave behind dozens of new murals throughout the neighborhood, turning Bushwick once again into an open-air gallery for street art lovers who travel here from every continent. Music spills through the streets all day long — hip-hop artists, MCs, DJs, and performers drawing crowds together for a day of live painting, dancing, and eating from the city’s rich mix of food trucks and vendors.

Mark your calendar for Saturday, May 29, and join Joe and his team at the Bushwick Collective Annual Block Party—don’t miss this unforgettable celebration of art, music, and community.

Congratulations, Joe.

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The Buschwick Collective 15th Anniversary / Artists Talk

The Buschwick Collective 15th Anniversary / Artists Talk

A CONVERSATION WITH FIVE ARTISTS FROM TAIWAN AT THE BUSHWICK COLLECTIVE 2026

KANDY KUO (photo © courtesy of the artist)

The Taipei Cultural Center in New York is exploring the streets of Brooklyn this spring with a fresh collaboration alongside The Bushwick Collective, the sprawling outdoor mural project that has transformed Bushwick into one of the world’s most active public art districts. Marking the Center’s 35th anniversary and The Bushwick Collective’s 15th anniversary in 2026, the partnership will introduce five Taiwanese artists — Mr. Ogay, Colasa, VASTAR, ALLO, and Taiwanese American artist Candy Kuo — to Bushwick Collective Week 2026, unfolding May 28–30 across Brooklyn’s famously paint-splashed streets.

ALLO (photo © courtesy of the artist)

We are honored to have been invited by Joe to moderate a panel discussion on May 28 at Lot 45 in Bushwick, featuring the five participating artists from Taiwan in a lively discussion of their work in Taiwan, the graffiti and street art practices today, and their experience of painting in Brooklyn. The event is free and open to the general public. A reception with music, DJs, drinks, and food will follow.

VASTAR (photo © courtesy of the artist)

We have been on the streets of Bushwick, along with Joe, AKA Joseph Ficalora, the Collective’s founder and curator, since 2012, and have witnessed the transformation of the area around his family’s business into an open-air gallery of muralism and graffiti culture, producing thousands of beautiful, high-quality works. The Bushwick Collective draws thousands of visitors, photographers, artists, and street art enthusiasts from all over the world every year. Between May 22 and May 30, the artist from Taiwan and dozens of artists from New York and other parts of the world will create new walls throughout the neighborhood, accomplishing another successful edition of the Bushwick Collective.

COLASA (photo © courtesy of the artist)
MISTER OGAY (photo © courtesy of the artist)

Event Details

Artist Talk

TIME: Thursday, May 28, 2026, 5 pm – 7 pm

VENUE: Lot 45 – 411 Troutman Street, Brooklyn, NY 11237

Register

Opening Night

TIME: Thursday, May 28, 2026, 7 pm – 11 pm

VENUE: Vacations BK Rooftop – 48 Cypress Avenue, Brooklyn, NY 11237

Register

15th Annual Bushwick Collective Block Party

TIME: Saturday, May 30, 2026, 11 am – 6 pm

VENUE: Three blocks at St. Nicholas Avenue, Troutman Street, and Scott Avenue

Information

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BSA Images Of The Week: 05.24.26

BSA Images Of The Week: 05.24.26

Welcome to BSA’s Images of the Week – our selection of art on the streets that collectively document the evolution of the scene from our perspective.

It’s a rainy Memorial Day weekend in New York and many picnics, war memorial events, camping trips, hikes in the Catskills, shares on Long Island, and strolls to the park are impacted, with the dreary cold weather canceling many plans. We start our collection of photos by Jaime Rojo with a series of heroes and villains on the street – if only real life decoded the world so simply. Commemorations on Memorial Day often present a narrowed definition of loss – focusing primarily on people who fought wars in the military in defense of liberty, god, country, laudable ideals, or a mix of these. We also think of the so-called civilians who get killed during war, including those who are defenseless.

Here is our weekly interview with the street, this week featuring: Anna Frants, DARA, EXR, Frankie Botz, Fumero, Georgi Collagi, H Kubed, Ian Cinco, INFOE, Iris Van Harpen, Jeff Beler, Joseph Iroshi, Kams S Art, Katya Goltseva, Laser Cats, Lenna Art, Loretoh, Man in the Box, Manuel Alejandro, Nandos Art, Natural Eyes, Pressto, Sebastion Campnario, Trades Only Bro, and Zimer NYC.

Zimer NYC for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Ian Cinco for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Man in The Boxx for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Kam S. Art for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
H Kubed for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Anna Frants for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Lisa Art, Joseph Iroshi, Natural Eyes, Lenna Art for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Loretoh for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Dara for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Frankie Botz for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Fumero for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Katya Goltseva for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Manuel Alejandro for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Nandos Art for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Sebastian Campanario for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
EXR for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Unsigned for Underhill Walls. Brooklyn, NYC. (photo © Jaime Rojo)
Georgie Collagi (photo © Jaime Rojo)
INFOE TRADES ONLY PRESSTO (photo © Jaime Rojo)
Laser Cats (photo © Jaime Rojo)
Iris Van Harpen at the Brooklyn Museum for her mid-career retrospective. (photo © Jaime Rojo)

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Do Ho Suh: Art, Memory & Home

Do Ho Suh: Art, Memory & Home

Do Ho Suh has spent decades exploring the emotional architecture of memory, migration, and identity with and through sculpture, installation, drawing, and film. Born in Seoul in 1962 and later based in New York and London, Suh is internationally recognized for his translucent fabric recreations of homes, apartments, hallways, and everyday spaces — fragile, ghostlike structures that examine what it means to carry the idea of “home” across borders and through time.

Do Ho Suh. Art, Memory & Home. Via Art21. (image still from the video © Art21)

In this Art21 video, Suh moves between Seoul and New York while reflecting on his homesickness, family, military culture, individuality, and a quiet psychological weight of architecture. Whether working with stitched fabric, paper rubbings, or direct interventions into lived spaces, his methods often focus on careful observation and reconstruction rather than spectacle.

Do Ho Suh. Art, Memory & Home. Via Art21. (image still from the video © Art21)

“I just want to recognize anonymous everyday life people,” Suh says — a statement that helps explain why even his most ambitious installations remain rooted in ordinary human experience instead of monumental ego.

His work shares important concerns with artists working in public space: the meaning of place, the politics of visibility, and the emotional imprint left on walls, streets, and buildings by human lives. Like many street artists, he treats the city not simply as background, but as a living container of memory, conflict, movement, and personal history.

Do Ho Suh. Art, Memory & Home. Via Art21. (image still from the video © Art21)
Do Ho Suh. Art, Memory & Home. Via Art21. (image still from the video © Art21)
Do Ho Suh. Art, Memory & Home. Via Art21. (image still from the video © Art21)
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Books In The MCL: Buff Monster. Stay Melty

Books In The MCL: Buff Monster. Stay Melty

Stay Melty. Buff Monster. 2021

Reprinted from the original review.

Stay Melty is a vibrant and comprehensive chronicle of Buff Monster’s world—a visual universe that has grown from his early wheatpastes and stickers in Los Angeles to large-scale murals, collectible toys, and fine art editions recognized internationally. The volume functions as a mid-career survey and an update to the artist’s earlier 2015 book of the same name, expanding the original scope with six additional years of work and hundreds of full-color illustrations. The edition captures Buff Monster’s relentless productivity and his unbroken commitment to the “melty” aesthetic that has defined his visual identity for more than two decades.

The book opens with an essay by New York critic and curator Carlo McCormick, who contextualizes Buff Monster’s approach within contemporary art’s dialogue between pop imagery and personal mythology. McCormick identifies how the artist’s playful surfaces and consumer-inspired imagery mask a deeper commentary on impermanence and sentimentality—qualities that resonate beneath the glossy veneer. Rather than approaching graffiti or street art as rebellion, Buff Monster frames his practice as a celebration of optimism, humor, and the handmade mark. Design and advertising are part of the language, along with immediacy and accessibility of the street.

Each section of Stay Melty blends process documentation with finished works: sketches pinned to studio walls, murals under construction, and limited-edition sculptures lined up for production. This structure mirrors the artist’s own fluid boundaries between mediums. Murals become the basis for prints; trading cards evolve into paintings; street interventions feed back into gallery pieces. Across these transitions, Buff Monster maintains a notable consistency of tone and color. His signature pink palette—applied to characters that drip, ooze, and smile—is both brand and philosophy, a way of confronting chaos with playfulness and control.

Text Steven P. Harrington & Jaime Rojo     Fotos Eveline Wilson

Title: Buff Monster. Stay Melty
Published: Ginko Press, 2021
Author: Buff Monster
Language: English

Click URBAN NATION BERLIN to continue reading

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BSA Images Of The Week: 05.17.26

BSA Images Of The Week: 05.17.26

Welcome to BSA Images of the Week. You look amazing in that shirt!

We were running up that hill this week to see the designer currently on view at the Brooklyn Museum, Iris van Herpen, in the exhibition Iris van Herpen: Sculpting the Senses. Her work often looks less like traditional couture and more like living systems captured in motion — borrowing from coral formations, jellyfish, skeletons, water currents, insect wings, cellular structures, and fractal geometry. With the breezes blowing the newly arrived green leaves on the trees in front of the museum, we left feeling that the systems of nature merged with art, and that the city was in natural motion on the street.

Brooklyn-born artist Keisha Scarville has transformed the exterior street-facing walls of the Brooklyn Museum with large-scale photographic works that layer fabric, portraiture, memory, and fragmented identity into immersive public images. Like Iris van Herpen’s couture inside the museum, Scarville’s visual language draws from organic structures, repetition, translucency, and flowing forms that dissolve boundaries between materials and atmosphere. Both artists build intricate systems inspired by natural growth patterns and transformation, creating works that feel simultaneously intimate, sculptural, and almost biologically alive.

A few blocks away, the community wall project called Washington Walls is newly refreshed for the season, and many artists are again in touch with nature, or their inner nature anyway.

Here is our survey of the streets, this week featuring Aaron Metzger, Barbtropolis, Ben Keller, Calicho Art, Furmero, Homesick, Jason Naylor, Kams S Art, Keisha Scarville, Lady DJay, Le Crue, Luch, Minhofofa, Phetus, Praxis, Question Marks, Sarkism, Savior El Mundo, and Slut Puppy.

Martha Murals for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Ben Keller for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Kam S Art for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Praxis (photo © Jaime Rojo)
Unidentified artist (photo © Jaime Rojo)
Savior El Mundo & Question Marks for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Phetus for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Jason Naylor for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Slut Puppy. detail. (photo © Jaime Rojo)
Slut Puppy (photo © Jaime Rojo)
Barbtropolis for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Aaron Metzger for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Minhafofa for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
LUCH for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Fumero for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
HOMESICK (photo © Jaime Rojo)
Sarkisim for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Calicho Art for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Lady JDay for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
LeCrue for Washington Walls. Brooklyn, NY. (photo © Jaime Rojo)
Keisha Scarville for the Brooklyn Museum. Detail. (photo © Jaime Rojo)
Keisha Scarville for the Brooklyn Museum. Detail. (photo © Jaime Rojo)
Keisha Scarville for the Brooklyn Museum. Detail. (photo © Jaime Rojo)
Currently on view at the Brooklyn Museum is Iris van Herpen in the exhibition Iris van Herpen: Sculpting the Senses. (photos ©Steven P. Harrington)
Keisha Scarville for the Brooklyn Museum. Detail. (photo © Jaime Rojo)
Untitled. In Memoriam Davey. Brooklyn, NY. (photo © Jaime Rojo)

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Gold-Plated Returnables; LAPIZ Paints The Price of Growing Old

Gold-Plated Returnables; LAPIZ Paints The Price of Growing Old

There are certain images that tell you almost everything about the era you are living in before you even finish looking at them.

Lapiz. Retirement. Detail. Saxony, East Germany. (photo © Lapiz)

This latest intervention by Lapiz, painted inside the crumbling shell of an abandoned electrical substation near Chemnitz, lands somewhere between bitter social observation and deadpan advertising parody. Painted amid the remains of East Germany’s industrial skeletons — relics of a promised workers’ utopia that gave way to a turbocharged free-market reality after reunification — Lapiz gives us a satiric scene only slightly exaggerated from those now familiar across much of Europe: elderly citizens rummaging through trash for returnable bottles and cans to supplement pensions that no longer cover the cost of survival.

Has this become, as they say, normalized?

Lapiz. Retirement. Detail. Saxony, East Germany. (photo © Lapiz)

Germany may still project the image of continental stability and economic muscle, but beneath the polished surfaces of luxury storefronts and political speeches, some say that the sight of pensioners digging through public bins has become common enough to barely interrupt pedestrian traffic anymore.

Lapiz, whose stencil-based practice often merges political critique with the cold visual language of advertising and institutional graphics, frames the scene with a parody of luxury-brand patterning that unmistakably echoes the logo-crazed theater of designer fashion houses. The symbols woven into the repeated motif are not, however, monograms celebrating wealth and exclusivity but references to the bureaucratic architecture of poverty: job centers, food assistance, recycling systems, and welfare programs.

Lapiz. Retirement. Detail. Saxony, East Germany. (photo © Lapiz)

Here the performance of conspicuous consumption collides head-on with the fear of not meeting your family’s basic needs; the old scavenger carrying gold-plated deposit bottles becomes a darkly elegant contradiction. Even the title, “Retirement (is about exploring your wide open future),” is lifted from a corporate retirement campaign for an automotive executive. It twists the knife with the polished optimism of advertising campaigns and Davos-style prognostication.

As with other works by LAPIZ, the location matters. Painted during the small but steadily growing festival at Kulturnetzwerk Etzdorf, inside a former GDR-era energy substation in rural Saxony, the work occupies a landscape where the promises of competing economic systems have both aged poorly in different ways. The abandoned industrial structures surrounding the mural are not merely atmospheric ruins for photographers and festivalgoers; they are physical reminders of labor histories, collapsed ideologies, privatization, migration, and widening economic precarity.

Lapiz. Retirement. Detail. Saxony, East Germany. (photo © Lapiz)
Lapiz. Retirement. Detail. Saxony, East Germany. (photo © Lapiz)
Lapiz. Retirement. Saxony, East Germany. (photo © Lapiz)
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