The unexamined life is not worth living.
– Socrates
Welcome to BSA Images of the Week!
Is it even possible to take a personal inventory when it looks like the world around you is going off kilter? It’s worth a try. It may be the thing you depend on most in the future.
Here is our weekly interview with the street: this week featuring Pork, Sara Lynne Leo, Homesick, Clint Mario, Pear, Girlty, Georgia Violett, and Max Grax.
In Auckland, New Zealand, a new mural emerges from the city’s urban landscape, capturing one essence of New Zealand’s artistic evolution. “Anima,” a striking creation by Owen Dippie, a prominent New Zealand street artist, is a profound tribute to fellow artist Max Gimblett. Nestled in a rugged part of the city, this mural stands as a confluence of artistic expressions and shared histories, bridging the traditional with the contemporary.
Owen Dippie, acclaimed for his large-scale, photorealistic portraits, has many times showcased his exceptional skill in honoring iconic figures of the art world and community figures who have impacted people’s history. Selecting Max Gimblett as his subject, Dippie acknowledges Gimblett’s notable influence in art and himself. Both artists share a deep connection with New York, a city that has significantly shaped their artistic journeys despite their New Zealand origins.
The mural, a monochromatic portrayal of Gimblett, is encased within the quatrefoil shape, a signature element in Gimblett’s art. This shape, reminiscent of a four-leaf clover, carries deep symbolic meanings across different cultures and religions, from representing the four evangelists in Christianity to embodying symmetry and order in Islamic art.
In Gimblett’s artistic universe, probably influenced by his Rinzai Zen monk practices and spiritual quests, the quatrefoil symbolizes the harmonious amalgamation of Eastern and Western art philosophies. His work further accentuates this blend, often marrying Abstract Expressionism and Modernism with Asian calligraphy’s spiritual abstraction. Presented in collaboration with Gow Langsford Gallery, “Anima” can also be seen as a dialogue between Dippie’s and Gimblett’s artistic ideologies, known for challenging conventional art forms and blending tradition with innovation.
Max Gimblett’s journey from Auckland to the global stage is marked by his extensive travels, teaching experiences, and exhibitions worldwide. His artworks, characterized by masterful brushwork, a sophisticated color palette, and glossy surfaces enriched with gilding, reflect a diverse range of influences — from the alchemical mysteries and the Presbyterian Church of Scotland of his upbringing to the aesthetics of Japanese lacquerware and temple art. Gimblett’s unique artistic language is celebrated in significant museum collections globally, including the Guggenheim Museum, the Museum of Modern Art, and the Whitney Museum of American Art.
The nature’s gentle harmony is, probably, the best remedy for the speeding time of today. It stabilizes the ground beneath our martyred feet.
~ Mateusz Świątecki
Bartek Świątecki, aka Penner, has a style that is a confidently defined blend of bold colors, geometric shapes, and abstract forms harmoniously intertwined. It’s a graphical minimalism that speaks volumes, with straight lines and pure colors forming complex, geometrical clusters. This unique visual language demonstrates his mastery of blending traditional graffiti with modern abstraction and reflects a deep engagement with high art and youth culture. His murals and canvas works, often large-scale, are known for their dynamic and vibrant nature, inviting viewers into a world where street art and fine art converge.
Usually, you don’t see his canvasses in a field of cows.
This new book of photos documenting his newest painting project outside the country features Stare Kowkowo, a village in the administrative district of Gmina Jonkowo in northern Poland—23 kilometers northwest of the regional capital, Olsztyn. Stare Kawkowo is part of a region known for its picturesque landscapes and historical significance. In the graffiti and street art world since the mid-1990s, Świątecki has etched a significant voice on contemporary art, so why not bring contemporary art into the heart of his natural homeland?
Looking through the text-free pages of the artist in the wooded areas and rolling pastures, you understand that his painting is not just an expression but a dialogue between himself and the world. Perhaps it is an effort to transcend conventional boundaries and labels, offering a unique perspective on his artistic journey, a testament to the evolving relationship between different art forms and cultural expressions.
Like the anonymous work we find on the streets, he’s not offering interpretation.
The painters’ brother Mateusz Świątecki, in the foreword of the book, eloquently adds, “Bartek’s paintings keep vibrating, as the light vibrates under our eyelids, in their unbridled dance of endless creation: as a spasm of condensed matter just before being jetted into the oceans of entropy in the Big Bang.”
He further reflects, “Bartek never explains what he has meant, which is very good. We may embark on a journey to find meanings and impressions alone – with no luggage and totally free. And, perhaps, it is what those paintings are about.”
This sentiment captures the essence of Pener’s art – an invitation to explore and interpret freely, unhindered by narrative or analysis.
Bartek Świątecki / Stare Kawkowo 2023 / Printed in Poland © 2023 Bartek Świątecki
“Art is not a mirror held up to reality, but a hammer with which to shape it.”
– Bertolt Brecht
Welcome to BSA Images of the Week!
Our current reality appears quite bent, and maybe art has the power to straighten it out, but you won’t see a lot of political stuff on the streets right now ironically. Here and there, yes, but as the US stirs the embers of resentment into a third world war in the Middle East that will possibly metastasize with other warring regions, it appears that we collectively look again at our belly buttons.
Brooklyn is booming with some fresh work this week, with a winter snowstorm that left us with a white blanket to augment the freshest street art and graffiti. This week, Barcelona’s KRAM shows up in BK with their eclectic styles interplaying. Sice is nice, QUAZAR climbs up, and Toney crosses, and Parisian/Londoner/Brooklyn-based Oscar Nett is hyperrealistic and geometrically dramatic, giving us some Li-Hill vibes, no?
Here is our weekly interview with the street: this week featuring Obey, Cost, Jason Naylor, Degrupo, Optimo NYC, Kram, Hek Tad, Muebon, Slomo, Oscar Lett, Konozco, Toney, Mishka Bobisha, Rack, Klash, QUAZAR, Trip, Sice.
Today, we unveil new works from the Unmute Campaign, a dynamic and impactful movement supporting photojournalists in Gaza. This creative initiative transforms harrowing moments captured in conflict zones into evocative paintings and sketches. By doing so, the campaign plays a pivotal role in amplifying the voices of those who risk their lives to report the realities of these areas, no matter how dire. Joining the effort is a diverse group of international artists, including Ernest Zacharevic, Escif, and prominent figures such as Shepard Fairey.
This campaign represents a significant movement in the art world, where artists from across the globe interpret photo documentation from photojournalists on the ground in Gaza; the project partners with five active Photojournalists, Belal Khaled, Mahmoud Bassam, Sameh Nidal-Rahmi Saher Alghorra and Majdi Fathi. Their involvement in Unmute goes beyond artistic expression; it’s a testament to their commitment to raising awareness and fostering change in pressing global issues.
Ernest Zacharevic draws upon his unique ability to blend art with its surroundings, creating pieces that resonate deeply within local and international communities. His environmental activism, mainly through his “Splash and Burn” campaign, highlights Indonesia’s urgent need for sustainable practices in palm oil farming. This initiative underlines his dedication to tackling environmental degradation and promoting a harmonious relationship between humans and nature.
Escif, on the other hand, is better known perhaps for his art on the street that challenges societal norms and provokes critical thought. For instance, his work during the coronavirus pandemic offered a fresh perspective on societal attitudes and governmental narratives. Escif’s participation in the Unmute campaign reflects his reputation for keen insight into the complexities of social and political issues.
As these new pieces from the Unmute campaign unfold, they remind us of the influential role that art can play in shaping societal perspectives and driving action.
CLICK HERE TO DOWNLOAD THE FILES FOR PRINT FREE OF CHARGE
CLICK HERE TO DOWNLOAD THE FILES FOR PRINT FREE OF CHARGE
NOT SO BLACK AND WHITE
SCOPE WALLS 2023
A decade ago, spotting a fire extinguisher tag at a high-profile art fair was as rare as stumbling upon a unicorn. These tags, a raw expression borrowed from the rebellious part of street culture, remain one of the few graffiti forms embodying untamed, voluminous fury. Their wild, nearly uncontrollable nature often sends extinguisher tags sprawling chaotically across walls, typically in a burst of illegal exhilaration and complete disregard. Yet, at Scope, something has changed. Here, under the discerning eye of the STRAAT Museum from Amsterdam, New York’s Elle adds it to her graphic vocabulary, confined in a grid. The extinguisher phrase is sweetly an affair of the heart, neatly encapsulated within the structured lines of a painted grid on an outdoor display wall.
In this world (the West, East, North, and South), increasingly sliced by polarized political fault lines, the once rigid boundaries between art and vandalism blur into intriguing shades of gray. Consider hand styles like those of Bisco Smith at this venue – once underground, now they fold into the stylized lexicon of ‘calligraffiti,’ accessible to all. It’s a testament to the evolving nature of art, shattering the dichotomy of rules once as clear-cut as the commandments brought down by Moses.
Take Anthony Garcia Sr., for instance. His story is a narrative of contrasts. Born in Denver, that bastion of Boomer wealth now gasping in the throes of late-stage capitalism, Garcia’s roots are in Globeville, a less privileged neighborhood. He gets street cred for starting as a graffiti writer, then joins a DIY art collective – a move perhaps uncharacteristic for traditional graffiti artists. Garcia’s journey exemplifies the fading of stark black-and-white distinctions.
This year’s walls outside the Scope Fair in Miami vividly showcase this eclectic con/fusion. We see graffiti writers rubbing shoulders with art school graduates, graphic designers, and street artists. It’s a diverse panorama condensed into a concise exhibit. Curated by Hyland Mather and David Roos, STRAAT’s exhibition “Not So Black & White” celebrates this new, complex artistic landscape – where the lines between defiance and conformity, street and gallery, blend into a new, undefined horizon.
Artists include The London Police Hoxxoh, Pref ID, Bisco Smith, Mando Marie, Elle, Valfre, and Anthony Garcia Sr. .
“KEEP AN EYE OUT FOR PEACE IN ANY FACE, AND FIND THE LOVE IN ANY PLACE” Hyland Mather AKA The Lost Object.
“Art should comfort the disturbed and disturb the comfortable.”
– Cesar A. Cruz
Welcome to BSA Images of the Week!
The fog of war obscures our vision, confuses our thoughts, and stirs fear and anger within us. Yet, we must not yield to despair as we navigate these unpredictable times. Within each of us lies a creative spirit eager to emerge. Around us are those who yearn for love and aid. Street artists, with their unusual practice of blending of persuasion and provocation, offer entertainment, encouragement, and discomfort. In such times, the artist’s voice becomes crucial, including your voice.
Here is our weekly interview with the street: this week featuring Jeremy Fish, Angurria, Mike King, Spaint, Tom Bob NYC, Jay Kaes, Whitney Holbourn, Dream Weavin, Art of Slim, Keru De Kolorz, Menas 24711, Memi Martinez, Face, and Brian Wooden.
Art Basel and Wynwood Walls was a buzzing hive of artistic and cultural activity, and this year’s event at Wynwood Walls was initiated by an invite-only party featuring the iconic British DJ, Fatboy Slim, who played an hour-long set in the open courtyard. Made very famous by his hits of the early late 90s/2000s, his legendary beach parties and appearance at music festivals lock crowds in the 10s of thousands into paroxysms of dancing ecstasy.
The event also marked unveiling the 2023 artist lineup and theme – “The Power of Purpose” by Wynwood Walls’ owner and real estate businessperson Jessica Goldman Srebnick. Among the notable artist attendees included Ron English, Dan Lam, London Police, Lauren YS, Mantra, Elle, Greg Mike, Anthony Reed, Sandra Chevrier, Kai Art, Allison Heuman, Leon Keer, Shok_1, Deferk, and the much-feted artist Lauren YS, who painted an enormous mural on the WW compound depicting a surrealist vision of the scope of LGBTIQ+ community, entitled “Say Gay”. The title references Florida’s “Don’t Say Gay” initiative and legislation enacted in Florida, officially known as the “Parental Rights in Education” bill. Signed into law in March 2022, this legislation prohibits classroom instruction and discussion about sexual orientation and gender identity in certain grades in public schools.
Political or not, the compound and its wide selection of artistic styles still have their own energy, now primarily the energy of the family audience and the selfie, and it is good to see many street artists still making the pilgrimage.
“So I count 17, 18, 19, 20 people that are not from Miami,” Alan Ket observes as he scans the office tower at Biscayne and 1st Street, now an outstanding crown jewel in Miami’s graffiti scene. Emerging primarily at night during Art Basel week, this all-façade painted temple brought out an unprecedented mix of international and out-of-town graffiti writers and street artists. It’s a scene that could only unfold here, right now.
Is there more graffiti inside? “Yeah, there’s some,” Ket says. “You’d just find a spot with a broken window or something. You just would have to be really careful going in.”
Alongside Graffiti Museum Co-founder Allison Freidin, Ket gives us a rare tour from a unique set of perspectives trusted in the gallery and respected on the street – not an easy feat. Their insights bring to life a project that grew, almost mystically, in the light of day and under cover of night above Miami’s streets. This tower, despite its looming demolition that will make room for the next big development, stands tall in a city known for its explosion of graffiti and street art over the last two decades.
“Originally Atomic, with the oranges up there on top? He started in July,” Ket says, his descriptions echoing the precision of someone who’s lived and breathed the scene. “Then the word spread, and 1UP came with 004 just under the top,” he points, “then these guys filled in the bottom.” This collaboration is now a daily mind-blower, surpassing even the major Art Basel/Wynwood events without the nod from artworld gatekeepers. It happened right under their noses – and above their heads.
“Graffiti is stronger than you think,” 1UP states in their 3D-modeled deconstruction-reconstruction by video artist @yoshitravel on Instagram. This glitchy, gritty, post-apocalyptic Matterport-ish/drone tour of the power tower adds a sleek edge to an underground scene that follows its own codes and periodically shocks the cityscape in a colossal way.
The event drew graffiti artists from around the world and locally, like a family reunion. The displayed styles underscore the diversity in today’s global scene – drawing from influences as wide as your mind. The risk-taking inherent in graffiti culture is evident, with some pieces rappelled down the wall in a style more akin to Sao Paulo or Berlin. Others look half-finished, maybe left in haste to avoid getting busted. The building’s rough shape is clear, with its broken glass visible from afar. Yet, the dialogue between the artists is also evident – with collaborative overlaps and occasional overwrites, showcasing the community and competition that drives everyone to outdo each other, and sometimes, even to impress you.
Catch this massive installation before its final takedown this spring. To us, it’s a reminder of the raw talent and resourcefulness of graffiti writers and street artists worldwide. Yes, Art Basel Miami, the prestigious international art fair, plays a part in energizing the scene. But truth be told, graffiti culture has long been about self-made artists putting on a show, often internationally, long before the big names took notice. This global tower of power is proof of that relentless drive.
Welcome to BSA Images of the Week!
The New Year has been good so far, except if your country is in a war and is being pulverized.
We captured some exceptional street art during our visits to Miami last month. It’s encouraging to see that, despite commercial pressures, the artists’ untamed creative spirit continues to shine through. To balance the collection, we have dirty old New York pieces that pull no punches, and tell no truths, I mean lies. Happy to share these new and dynamic pieces with you.
Here is our weekly interview with the street: this week featuring Tats Cru. Homesick, Werds, Deih XLF, Melski, West, Dase, Banksy Hates Me, Wizard Skull, Johann Art, Arlex Campos, Professorx, d1a5, Salute, Urban Ruben, HITC, Heat, and Kane.
We’re pleased to continue positively into the new year by sharing a heartwarming journey into the world of family made street art, where personal ties and creativity intertwine beautifully. Contrary to the often-perceived image of the solitary graffiti writer or street artist, the French Tuco Wallach is a shining example of a family man whose art blossoms from his close-knit relationships.
In this new video and photos, you get an inside look at Tuco’s Christmas project, a venture that truly was a family collaboration- resonating with the spirit of the holidays. Each work is a nostalgic mix of memories and joy, featuring enchanting kitsune masks, intricate origami, bold stencils, and sparkling beads.
Tuco Wallach merges the personal with the public in his work on the street, creating pieces that are not just visually captivating but also personal.
As we usher in the new year, it’s exhilarating to embrace a project that embodies a powerful message: “Raise the Level.” This initiative, resonating with the ethos of elevating our discourse on critical issues, reminds us that respectful, high-quality debate is not only possible but necessary. Steering clear of personal attacks, we all have the capability to engage constructively in meaningful conversations.
In this spirit, we are thrilled to introduce the collaboration between STRAAT Museum and renowned artist and activist Shepard Fairey, in a project aptly named “Raise the Level.” This endeavor is brought to life through an extraordinary five-minute documentary that offers an intimate glimpse into Shepard Fairey’s creative process and his mission to use art as a catalyst for change.
The documentary, crafted by filmmaker Lidewij Hartog, follows Shepard Fairey during his visit to Amsterdam in August 2023. This visit marked a significant moment for Fairey, as he showcased his “Printed Matters: Raise the Level” exhibition at the STRAAT Gallery. But his contribution went beyond the gallery walls. Fairey left an indelible mark on the city by creating a monumental mural on the museum’s outdoor wall and adding a distinct artwork to the museum’s permanent collection.
STRAAT Museum proudly presents “Shepard Fairey: Raise the Level.” This documentary not only captures the essence of Fairey’s artistic journey in Amsterdam but also delves into the motivations and aspirations driving his art. Join us in experiencing the impact of Shepard Fairey’s work and his ongoing dedication to using art as a medium to inspire societal change.
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