All posts tagged: Superchief Gallery

BSA Film Friday: 05.05.23

BSA Film Friday: 05.05.23

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

Now screening:
1. Kukeri/ A Bulgarian Dance Tradition at Everyday Icons

2. Merch Alien Graffiti Via Superchief Gallery

3. Indecency Is Turning Love Into Hate. Via Indecline

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BSA Special Feature: Kukeri/ A Bulgarian Dance Tradition at Everyday Icons

And you thought it all came from Nick Cave, didn’t you? Here we are, confronted with the form. This piece reveals the sublimely surreal essence of humans and magicians and the spirit of creativity versus the evil spirits.

“Once a year, the Bulgarian tradition of Kukeri unites a small village as residents wear intricate masks and costumes and dance at night. Killian Lassablière chronicles the practice in his short documentary.”

Merch Alien Graffiti Via Superchief Gallery

Aliens don’t get enough props in the graff game. A little preview of a work in progress with MERCH and Coolinternetdude.

Indecency Is Turning Love Into Hate. Via Indecline

Here’s InDecline giving Nashville the business with a billboard takeover that stands up for something. It’s a pleasure to see street artists using their power of activism to draw attention to topics they care about and that impact people – rather than simply selling a product or their latest print or exhibition.

In other news, “ICYMI: Governor Lee Signed Tennessee’s Fourth Anti-Transgender Sports Ban into Law; Making it the State’s 15th Anti-LGBTQ+ Law Since 2015

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BSA Film Friday: 04.21.23

BSA Film Friday: 04.21.23

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

Now screening:

2. Jaune Quick-to-See Smith: Memory Map via Guggenheim Museum

3. TENS Crew – The Molson Project via Spray Daily

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Horror, fluorescence, biting parody, and flirting with futuristic horror! What’s not to love?

Bill Dunleavy, writing in Juxtapoz, says, “The exhibition is BAER’s first solo foray to bring his unique style of world building to an exhibition format, as all the amazing work he’s created to date has been free, illegal, and often temporary, as it appears in public spaces. BAER’S genius as a conceptual artist is evident throughout the exhibition, as there are at least five exhibitions worth of concepts packed into this debut showcase. It could be said that the ‘Devil is in the details’ when it comes to GARBAGE FUTURISM, literally. “


A brilliant and poised presentation of the artist at this moment, this video very quickly introduces the artist, and examines her motivations, history, and aspiration. It also reveals her commitment to her work.

“Being indigenous and making art means that you are looking at the world through the lenses that are curved or changed by your upbringing and by your worldview. As indigenous people we always get together and talk amongst ourselves about how we can change things or make things better and how we can put messages out there; ‘Don’t take more than you need’ should be our motto.

The same thing is true about what I put in the paintings – here I showed the American map I’m putting my Heritage in there.

When I was younger I never could envision this happening at the Whitney, never. I never let myself think that far.

It doesn’t matter what my age is it’s what I’m engaged with in my practice, and I would say I am right now and then take advantage of every opportunity that I can get to demonstrate that time is fleeting and we don’t know where things are going to be 10 years from now so I don’t really concentrate on that I just concentrate on making work that counts for something.

I think I’m a pretty lucky person, a lucky duck I am.”

Jaune Quick-to-See Smith: Memory Map via Guggenheim Museum

You see the name of the video and think, “Oh no, not another corporate brand slathering themselves with anti-social subcultural aerosol edginess”. Thankfully, it’s something else entirely. When you reflect upon the angles and the storytelling, it is about transgressive athleticism and claiming territory and public space, competition among peers, and giving the finger to authority. It is also tapping into a love of letters, type, fonts, and placement. Dude, it’s complex.

TENS Crew – The Molson Project via Spray Daily

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BSA Images Of The Week: 11.18.18

BSA Images Of The Week: 11.18.18


Kobra is rumored to have left New York this week, 18 murals later, a survey of pop cultural icons known to postcard buyers in the city for years – all in technicolor and in very large scale.  In a story with many layers of irony, a skatewear brand got reprimanded by a Sacsix, a New York street artist, for postering over his wheatpaste.  And Street Artist Ron English bought a street Banksy this week at auction and announced to the press that it was part of his strategy to discourage people from taking illegal art off the streets.

Meanwhile new stuff is popping off in Ridgewood, Queens, where some of the stuff below is from, proving that the scene is still incredibly relevant to artists and fans alike.

So here is our weekly interview with the streets, this week featuring Boy Kong, Chris RWK, City Kitty, Chance Paperboy, Damien Mitchell, Jaye Moon, Kashink, Kirza, K Liu Long, MeresOne, Myth, Raf Urban, Rx Skulls, Square, Squid Licker, Gane, Texas and Zimad.

Top Image: Squid Licker for Superchief Gallery. (photo © Jaime Rojo)

Kashink for Superchief Gallery. (photo © Jaime Rojo)


Chris RWK for 212 Arts. (photo © Jaime Rojo)

Jaye Moon (photo © Jaime Rojo)

It looks like Myth is bolting out from NYC…So long pal. We’ll miss you but BSA will always love you:-) (photo © Jaime Rojo)

MeresOne (photo © Jaime Rojo)

Writers with pigeons… (photo © Jaime Rojo)

Kashink . Boy Kong . K Liu Long. Superchief Gallery. (photo © Jaime Rojo)

Gane . Texas (photo © Jaime Rojo)

Since JR completed his collaboration with Time magazine on the Houston/Bowery Wall there have been two mass shootings with multiple fatalities in the USA. And by the way the shooters were not immigrants, asylum seekers or refugees. They both were white male, American citizens. (photo © Jaime Rojo)

JR . Time magazine and an anonymous artist updates the wall to reflect the number of fatalities from the new mass shooting in the USA… (photo © Jaime Rojo)

Raf Urban with a message of hope. (photo © Jaime Rojo)

Zimad gives Edgar Allen Poe some love and The Raven… (photo © Jaime Rojo)

Square (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

Squid Licker . Boy Kong for Superchief Gallery. (photo © Jaime Rojo)

Unidentified artist (photo © Jaime Rojo)

City Kitty . Rx Skulls (photo © Jaime Rojo)

Damien Mitchell paints Chance Paperboy. (photo © Jaime Rojo)

Falcon with tag on a rooftop in NYC. (photo © Jaime Rojo)

Untitled. Brooklyn, NY. November 2018. (photo © Jaime Rojo)


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One Night in NYC with 1UP, Martha Cooper, Ninja K : Book Release and Movie Screening

One Night in NYC with 1UP, Martha Cooper, Ninja K : Book Release and Movie Screening

Berlin’s notorious 1UP Crew hits Ridgewood Saturday night along with graffiti/Street Art patron saint Martha Cooper to celebrate the first city in their US tour for their new book with co-shooter Ninja K.

Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team)

A hot summer night pop-up is available only one night at Superchief and we’ll be there with you to eyeball the new book, get it signed, and screen the new 1UP movie. Bring your juice box kiddies!

We reported HERE on the launch of this book in Berlin at Urban Spree back in May. New York peeps have an opportunity to see a Pop-Up exhibition and book signing at Superchief Gallery in Ridgewood, NY this Saturday, July 21st. Click HERE for all the details…

Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team)

Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team)

Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team)

Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team)

Martha Cooper & Ninja K. One Week With 1UP. (photo courtesy of the team)


Martha Cooper & Ninja K: One Week With 1UP opens this Saturday at Superchief Gallery in Ridgewood, NYC. Click HERE for all the details.

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Downtown Miami for the KOOL KIDS : Juxtapoz Clubhouse 2017

Downtown Miami for the KOOL KIDS : Juxtapoz Clubhouse 2017

Ahhhhh the sun! The sea! The cigarette butt stuck to my leg from last night.

Also, did I wear ONLY this swimsuit and shoes, or did I originally go out with more clothes?

Anyway this is Miami and the annual mural-street art-graffiti-gallery show-art fair-melee is afoot. Wherever you go in Wynwood you are bound to find Instagrammable moments and pretty things pontificating about this or that, but if you want to see good stuff we’re suggesting this year that downtown is the next Wynwood, beginning with the historic Walgreens Building on 200 East Flager Street. Its second iteration, the Juxtapoz Clubhouse feels more like an organically spawned environment; cognizant of the many tributaries from where this art scene evolved, with room for free thought, experimentation, and growth.

Take a trip to another part of Miami this year and see JUX’s many assorted exhibitions and exhibitionists. Here’s a few of the hits we hope you hit.

Juxtapoz Clubhouse Miami 2017

Juxtapoz Magazine is taking over a 3-story department store with art installations, activations, murals, and site-specific projects, featuring works by Conor Harrington, Jean Jullien, Faith XLVII with Inka Kendzia, Ron English, Laurence Vallières, Serge Lowrider, Low Bros, Zane Meyer, Jillian Evelyn, Alex Yanes.

Juxtapoz will also be releasing their new Quarterly edition at the Clubhouse along with editions of Shepard Fairey’s “The Damage Times” newspaper, created in conjunction with his Damaged solo show.

Juxtapoz is also showcasing projects from Jonathan LeVine Projects, Thinkspace, Corey Helford Gallery, Think Tank, Athen B Gallery, Good Mother Gallery, Superchief Gallery, First Amendment, Station 16 Gallery and Urban Nation.

Juxtapoz will also once again team up with Mana Contemporary on a special mural by Conor Harrington and a-soon-to-be revealed skate park project – remember the massive skate park with Mana and Andrew Schoultz in the Wynwood neighborhood.

Historic Walgreens Building
200 East Flager Street

December 7 – 10, 2017
Opening Reception: December 6, 4 – 9 pm


From 7th to 10th of December URBAN NATION is part of the Juxtapoz Magazine CLUBHOUSE project @downtown Miami with Mimi Scholz Arts, #MateusBailon, Insane 51 and Nuno Viegas


Prefab77 “Goddess & Groupies1”

Jonathan LeVine Gallery is pleased to present a group exhibition at the Juxtapoz Clubhouse featuring the following artists:

Adam WallacavageDavid Choong LeeHandiendan, Jeremy FishJim Salvati, Jim WoodringJoão RuasJosh TiessenJulia IbbiniKevin CyrKip OmoladePrefab77Radosław Liweń and Ronald Gonzalez.

OLEK “Playpen” With Corey Helford Gallery

Los Angeles-based Corey Helford Gallery is showing new stuff by OLEK as part of the Juxtapoz Clubhouse. Olek says “Playpen” is a witty and flirtatious series featuring three new sculptures and an impressive 20-foot installation of an 8-legged “Spider Woman,” adorned with motifs like eyes, lips, hearts and flowers.

Look out for sculptures that represent various fantasy objects — a “Cat Snail” playset, a classical-shaped “Woman Bust” and a potted “Cock Plant” — all of which come to life under the glow of black light. Initially inspired by her own play experience as a young girl, OLEK uses this series to explore concepts of womanhood, sexuality, and feminist ideals.


A collection of works by San Francisco based First Amendment gallery artists will be on the third floor, including:

Andrew Antonaccio
Ellen Rutt
Francesco Lo Castro
Hell’O Collective
Lena Gustafson
Mando Marie
Scott Albrecht


Jaune (photo © Jaime Rojo)

Thinkspace is 2 for 2 here at the Clubhouse during Art Basel week in Miami with James Bullough and Jaune on site leaving their unmistakable marks.


A collection of works and installations by Athen B. artists will include
Brett Flanigan
Cannon Dill
Heather Day
Jet Martinez
Kate Klingbeil
Laura Berger
Maxwell McMaster
Meryl Pataky
Muzae Sesay
Nicolas Romero
Nicomi Nix Turner
Troy Lovegates
Woodrow White
Zio Ziegler


Superchief will feature works by Parker Day, Don Pablo Pedro, UFO 907, Yu Maeda, and Reginald Pean and will be screening Wastedland 2 on Thursday December 7th at 7pm. See our interview with the director here.



Good Mother will feature Egle Zvirblyte & Jose Mendez


Laurence Valliérs. Detail. (photo © Jaime Rojo)

Station 16 will be featuring a new installation by Laurence Vallières

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Swoon: “Pearly’s Beauty Shop” in LA Helps You Be a Glamorous Philanthropist

Swoon: “Pearly’s Beauty Shop” in LA Helps You Be a Glamorous Philanthropist

SWOON and “Pearly’s Beauty Shop” are back!
Heliotrope Benefit!
Buy your TIX for Saturday 5/21 in Los Angeles HERE!


BSA was an early and fervent supporter of the very first Pearly’s Beauty Shop nearly four years ago in Long Island City, New York: Swoon herself was there painting nails and the brand-new Braddock Tile architectural model was on display amongst all the lace-paper cut constructions, hair dressers, stylists, costumers, swirling lights and DJs.

This Saturday in downtown Los Angeles the 2016 Artist-Run Soiree named “Pearly’s” will dwarf that first one in star power, sponsors, co-hosts, DJs, guest curators, performance artists, hair dioramas, costumes, glitter, and rouge.brooklyn-street-art-swoon-pearlys-beauty-shop-superchief-gallery-web-1

Hosted by Superchief Gallery and benefitting Swoon’s Heliotrope Foundation, you are invited to re-imagine fantastically your personal aesthetics with a bevy of talented professionals at the ready to help make dreams come true – and to fund Heliotrope so it can help communities to heal after natural disasters, economic blight, and other urgent social crisis.

Juxtapoz’s Evan Pricco has curated a list of cool artists for an exclusive Pearly’s 2016 print release, Shepard Fairey will be at the wheels of steel, and Brooklyn babe now Hollywood bombshell Marsea Goldberg is curating a special exhibition called “Vanity”. Also, an auction curated by Raina Mehler and Andrew Lockhart.

Also, surprises. That’s all we can say.

West Coast Represent!!


SWOON invites you to Pearly’s Beauty Shop
Saturday, May 21, 2016
7 pm to 1 am
Superchief Gallery
739 Kohler St, Los Angeles, California 90021

TICKETS: Tickets start at $50 and can be purchased at
DRESS CODE: Come as you are






  • HOST COMMITTEE: Swizz Beatz • Jane Golden • Sallyann Kluz • Andrew Lockhart • Karmimadeebora McMillan • Sandra Powell • Zahra Sherzad • Anthony Spiegel • Ryan Nuckel • KT Tierney • Natalie Kates • Bill Dunleavy • Edward Zipco • Marsea Goldberg • Als Kenny • Ryland Behrens • Tamara Goldstein • Lisa Shimamura • Andrew Edward Brown • Liat Cohen • JL Sirisuk • Raina Mehler • Alex Fanning • Afrodet Zuri • Andrea Fiona Pagliai Londoño • Siovan Hope Ross • Adam Lehrer • Kristin Sancken • Charlotte Reed • Kurt McVey

Pearly’s Beauty Shop 2016 thanks Jefferson Projects; Juxtapoz Magazine; Lagunitas Brewing Company; Stolen Rum; Gary Lichtenstein Editions at Mana; Art Report; ArtLeadHER; and Red Flower for their generous support. Pearly’s is pleased to partner with LAMP Community, a Skid Row-based organization seeking to end homelessness and foster self-sufficiency among those living with severe mental illness.

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Esteban Del Valle is “Displacing Waves” in Los Angeles

Esteban Del Valle is “Displacing Waves” in Los Angeles

Consider for a moment the irony of attending a gallery for an art show that confronts gentrification. Currently some critical philosophies born of urban studies and a fascination with the impact of a “creative class” will point to the art gallery as a central lever for converting a neighborhood from industrial/lower/working class to an attractive target for real estate development. Compound the irony with canvasses by an artist who also paints on the street, and you have a potential magnet for outraged anti-gentrificationists. Let’s discuss this over a slow-drip latte at the corner café.

(click to enlarge)

Chicago born, Brooklyn-based street artist/fine artist Esteban del Valle is in LA for his first west coast solo show, “Displacing Waves,” and he tells us he is referring to the swelling, cresting, and breaking forces of gentrification that displace communities across the country – and he’s conflicted about it. Most of us think it’s a local story, confined to our own city, but as the middle class is hollowed out and collapsed in the US, del Valle tells us its national and his study of the topic has fueled these “painterly vignettes of contemporary colonialism”.

A student of history, sociology, and anthropology, it is his politically sharpened sense that slices beautifully, an exacting sarcasm that leaves hypocrisy freshly fanned out among the filleted meat selections displayed on canvas.


Esteban del Valle. Process shot working on a large piece for his show “Displacing Waves” (photo © courtesy of Esteban Del Valle)

He says the show’s theme evolved after “a culmination of seven months of traveling throughout the United States, from rural Alaska to New York, Miami, and Los Angeles”. The figures are rich, the dynamic styling and tensions ready to be read into.

His techniques of drawing, painting, ink, and wash are amply intermingled, giving layers of emotion and verve to the compositions, pushing personalities to sharp definition. The wet-into-wet wash watercolors and inks reveal layers of character and circumstance, the pladdling and blotting brushes of oil trigger associations, building volume and movement. This is multi-discipline, with a fair margin for rumination and discovery.


Esteban del Valle. Process shot working on a large piece for his show “Displacing Waves” (photo © courtesy of Esteban Del Valle)

Will these waves of del Valle creates displace the apathy of your average gentrifier? We spoke to him as he prepares for the opening of “Displacing Waves.”

Brooklyn Street Art: “Creative Class” has evolved into a loaded term of late; can you talk about how you are seeing it through a critical lens?

Esteban del Valle: I have been looking at the “creative class” as a group of creatively fluent individuals actively and willingly participating in a post industrial economy with the same capitalistic motivations connected to colonialist notions of “progress”. As much as I hate to admit it, I am a part of this problem; I am a formally educated artist with an advanced degree and I have consistently worked creative jobs using my skills to service the capitalist ambition of upward mobility. However, I am driven by the idea that creativity is at the core of consciousness and the impulse to acknowledge and question the presence of another. I feel like one of the consequences of contemporary “progress” is a tendency to strip creativity of its mystical powers and to view it as a space for material and technological innovation.

Through educational institutions and  America’s career-centric culture, we have reserved creative energy for advancements in organizing and storage of measurable information. This has distanced us from the possibility of being open to something different, an expansion of the soul. The cruel twist is that while funding from the arts are being cut in schools, businesses are desperately looking for creative thinkers to help them enter the next phase of the economy. The desire for measurable outcomes is so strong that it bullies any form of thought into a predetermined container, a vessel labeled “progress”.


Esteban del Valle. Process shot working on a large piece for his show “Displacing Waves” (photo © courtesy of Esteban Del Valle)

This whole body of work really grew organically out of my travels. But the funny thing is, as much as I was seeing these issues of displacement everywhere I went from Alaska to Miami, the main thing that kept repeating was my anxiety about returning home to Brooklyn. I found myself looking to more affordable areas of Queens and I felt the conversation happening all over again. The conversation that was happening in Bed-Stuy when I first moved to New York and into a live/work art space near the Marcy Houses. I started to think about how my arrival in a neighborhood could be a reflection of the same gentrification that I found so upsetting. This went hand in hand with my feelings about certain practices in the Street Art movement that were not sitting right with me, such as being used by developers to set the groundwork for displacement.

I began to think about how murals function over time, like how a WPA mural changes in its function and meaning as we move into and increasingly technological economy with out-sourced labor. It occurred to me that I could create my own paintings with a sense of historical distance. So an image of a young man drinking coffee could become a loaded subject when placed in a larger context. This correlation interested me because it reflects my relationship to the seemingly innocent acts of the creative class itself when it is engaged in “progress”. David Foster Wallace once described it as us viewing ourselves as emperors of our own skull sized kingdom. We begin to view the world as an extension of ourselves, while seeing our objective of personal fulfillment and entertainment as seemingly innocent and unrelated to larger injustices.


Esteban del Valle. Process shot working on a large piece for his show “Displacing Waves” (photo © courtesy of Esteban Del Valle)

Brooklyn Street Art: Can you talk about the variety of personalities that you capture with your line-work? Are you rendering an opinion of the individuals or are you capturing them dispassionately?

Esteban del Valle: This show is the first stage of my reaction to the issues. I think it’s a mixture of anger and a sense of futility as a self-assigned voyeur. There are only a few pieces that outright attack the issues violently, most can be glossed over as attractive with a tinge of irony. I recently heard the saying, “irony is the song of a bird that has come to love its cage.” I think that’s what I felt implicated in. I wanted to show how an image can seem innocent and even glamorous. The beautiful renovations, improvements in the neighborhood, the bustling shops, all seem to be an image of “progress”. So my goal was to couple that surface interaction with hints of conflict and place them next to blatant conflict. This tension between the “attractive” and the “difficult” is the main interest behind my color choice as well. I cannot separate myself from the accountability, which is one reason why several of the pieces are portraits of friends or direct criticism of my self as an artist.


Esteban del Valle. Process shot working on a large piece for his show “Displacing Waves” (photo © courtesy of Esteban Del Valle)

Brooklyn Street Art: For your selections of techniques – staining, masking, washes, dry-brush, granulation – how do you decide what comes next? Does the composition tell you? Do you discover it? Are you using a cognitive process or an emotional one?

Esteban del Valle: I begin with an abstract base and I draw on top of it, but I have always viewed my process as a sort of call and response, an exchange between painting and drawing. Illustration is historically a communicative medium while painting has evolved to abstract communication. But the evolution of both seems to be the rooted in the same intention. Abstraction seems to aim at abandoning spoken language to create a mood and maximize its audience.

That being said, we have found ways to categorize and contextualize arbitrary marks, record them in a historical perspective, and create an information-based language, which is the foundation of many institutions. Illustration has often served the purpose of conveying literal information as it priority with the same goal of maximizing its audience. My personal project has been to dance between these two spaces.  At the moment, I don’t feel like I am discovering as much as learning from the problems each painting creates, both in regards to form and content.  In that way I think it is both cognitive and emotional.


Esteban del Valle. Process shot working on a large piece for his show “Displacing Waves” (photo © courtesy of Esteban Del Valle)


Brooklyn Street Art: These people are often in groupings. How important are the relationships between them?

Esteban del Valle: Very important. The figures provide tension between each other and different elements of their respective narrative. They are used to depict a moment of a story which hopefully leads to questions from the viewer as to what, how, and why they ended up in this space.

Brooklyn Street Art: Would you give us a little background on the theme of “Displacing Waves” – are these political waves, energetic waves, historical/cyclical ebbs and flows?

Esteban del Valle: All of the above. It began as a thought regarding the pushing and pulling of gestures between the backgrounds and foregrounds of my paintings, allowing the abstraction to impose itself back on top of the illustration. I found that when this happened, I couldn’t help but read the arbitrary gestures as having a narrative function. They became clouds, fire, waves, etc. This reflected my feelings regarding the content as I tried to understand my role in it all. What did it mean to be displaced and/or being an agent of displacement, which sometimes occurs simultaneously. I began to think about oppression as a byproduct of power grabs, like ripples from a splash. It struck me as a terrifyingly poetic image, something like a person trying to use force to posses a single wave in an ocean.

Brooklyn Street Art: You’ve painted outside and in studio a number of times over the last year. How is your work affected by the presence of an audience as contrasted with the solitude of the studio?

Esteban del Valle: I think I carry the “public” audience with me even in the studio, almost like a phantom limb left over from painting outdoors. But I will say that when I am alone in the studio, I try to push myself to find something new and uncomfortable. I take risks and see where they lead me, but I often do so with the idea that I am preparing the next stage of my work for public space. I think it’s important for artists to find time away from an audience to try to find the closest thing to their intuition, a voice less bothered by the suggestions and opinion of others. Then you reveal it to the world as a way of destroying it, leaving you to start all over and rediscover your differences.



Esteban del Valle Displacing Waves will open this Saturday, January 9th at Superchief Gallery in Los Angeles. Click HERE for more details.

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