Today at 10:00 AM PDT Shepard Fairey will release his newest print and collaboration with Martha Cooper, “People’s Discontent”. Shepard’s long friendship with Martha has brought several collaborations throughout the years with Shepard remixing some of Martha’s most iconic photos from her Street Play series from the mid-’70s. The print already saw its European release in Berlin last Friday, October 30th at the Urban Nation Museum in Berlin with us and Martha in attendance.
“I teamed up with my good friend and documentary photographer, Martha Cooper, on a new print release called “People’s Discontent.” Martha Cooper has been photographing creative kids in action on city streets since the mid-1970s. I remixed one of Martha’s iconic photos from her book, Street Play, titled “Hitchhiking a Bus on Houston Street” that she shot in 1978 in the Lower East Side of New York City. There was no advertisement on the back of the bus in her original photo, and since disco was the rage in the late ’70s, I thought it made sense for me to add a disco radio station with the slogan, “Listen To The Sounds of People’s Disco.” I added the “DISCO-ntent” and the spraypaint can in the kid’s hand as if he sprayed that on there. It’s a nod to that era but also to what’s going on now with the unrest around social justice issues.”
“This limited edition print was first released through Urban Nation Museum in Berlin as part of their current show “Martha Cooper: Taking Pictures” curated by Jaime Rojo and Steven P. Harrington of Brooklyn Street Art and will soon be up on my website this Thursday at 10 AM PT. Check it out!” – Shepard Fairey
Venezuelan-born, Munich-based SatOne has graffiti-writing credentials dating back to the early 90s. Over time his letters went post-graffiti to imaginary worlds and science-fiction-inspired abstractions. Employed by big lifestyle, sport, and automotive brands over the last decade, his own work is full of movement and visual adventure-seeking.
Here in Berlin to participate in the Urban Nation One Wall initiative in the neighborhood of Spandau, SatOne (Rafael Gerlach) says he thinks of it as “Coming Home”, and names his new massive mural the same.
“The strict, vertical lines of the balconies can be interpreted as overlapping plateaus or levels,” says the project description. “They are arranging themselves in a dynamic pictorial composition on the surface, and just as life itself they seem constantly in motion.”
With stunning new shots from Nika Kramer we bring you the newest piece by SatOne, who says “Thanks to the daredevils Samuel, Flo and Michelle.” You know who you are.
When we asked Shepard Fairey if he would be up for a new remix of a Martha Cooper photo for our exhibition celebrating her career, he quickly said yes. Not only did he create a new original piece of art based on one of her classic “Street Play” images to hang in the gallery of our “Marth Remix” section, but he and his excellent team have also produced a new print – 250 of which sold out in 20 minutes on the Urban Nation website last night.
Shepard Fairey. ”People’s Discontent” 2020. 75,00€ Screenprint on thick cream Speckletone paper. Limited Edition of 550. 24 x 18 inches (61 x 46 cm) Embossed with Martha Cooper’s tag and Hand-signed & numbered by Shepard Fairey
The good news is Shepard will be selling another block of them on November 4th, so watch his announcements on social media!
But we still had a long line of lucky buyers snaking through the museum last night waiting for their opportunity for Martha to counter-sign their print, which had already been signed by Shepard. Because Shepard himself couldn’t attend he sent a warm video message to guests at a ceremony we had celebrating the print.
Martha Cooper’s original photo as shown in the exhibition next to the original art by Shepard Fairey.
What a complete HONOR it is for us to introduce this unique collabo between Martha Cooper and Shepard Fairey to celebrate our curation of her very FIRST career-wide retrospective, now showing at Urban Nation museum until May of 2022.
Very special thanks to our beautiful partners at YAP Berlin for making this event happen.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Shepard Fairey Talks About New Collaboration with Martha Cooper During Studio Visit via New Deal 2. “Landless Stranded” by Pejac
BSA Special Feature: Shepard Fairey Talks About New Collaboration with Martha Cooper During Studio Visit via New Deal
BSA is proud to debut a new collaborative print with Shepard Fairey and Shepard Fairey – a true honor really. Released by Urban Nation today it is a print made from a brand new original artwork commissioned for the Urban Nation Museum and our exhibition “Martha Cooper: Taking Pictures”.
During his development of the canvas last year Shepard was interviewed in Studio Number 2 by New Deal. See this video and you can learn a little about the new print going on sale today.
Shepard Fairey Studio Visit via New Deal
“Landless Stranded” by Pejac
As long as we’re in Berlin, we’ll be checking out PEJACs new show here this week and of course, we’ll be heading out to Holy Cross Church to see this powerful new public statement, “Landless Stranded.”
“As most people are familiar with distressing scenes involving refugees only through television images, it’s a bewildering sight to behold in an urban setting, high above street level. It’s as though reality has been dismantled in one location and anomalously constituted anew somewhere else,” says Pejac.
50+ years of taking photos of artists at work means you have thousands of images of graffiti writers straddling trains, street artists leaning off ladders, muralists hovering 20 stories above the street in cherry pickers. One of 11 sections comprising “Martha Cooper: Taking Pictures”, our Artists at Work area has 400 printed images from around the world, floor to ceiling, and across a half dozen decades.
Not only can people find their graff and street art heroes on these walls as seen through Martha’s eyes, we have also created a database searchable iPad of 1300 more images of Artists of Work that have never been seen before. Just enter a country name, or artist’s name, or even a Street Art festival name, and you’ll get a whole lot of eye candy, artists, and tools of the trade.
Since the beginning of the week, we’ve been reporting from Berlin on the Martha Cooper entire career retrospective “Martha Cooper: Taking Pictures” exhibition curated by Steven P. Harrington and Jaime Rojo of BrooklynStreetArt.com.
To celebrate the one-year anniversary of the opening and some 40,000 visitors despite a few closings due to covid, a new facade honoring the photographer had just been painted on the Urban Nation museum here in the Schöneberg neighborhood of Berlin. Lady Aiko, the Japanese street artist living in New York City was asked to paint the facade of the museum with selected portraits from Martha’s best-known documentation of breakers who formed the Hip Hop scene – along with Aiko’s own iconic bunny character.
Martha is in Berlin with us to see the exhibition for the first time to actually see Martha Cooper: Taking Pictures in person since travel restrictions held us all back from being here in person up to now. Here she is looking at the mural for the first time as well. And, of course, taking pictures of it.
After Covid kept us all away from this exhibition, BSA and Martha finally got a chance to see her retrospective in person, rather than through virtual 3-D tours or videos and photos. Here she is at a vitrine this morning for our first official tour together in person.
We have some special events taking place this month to celebrate one complete year of the career-spanning exhibition “Martha Cooper: TAKING PICTURES”, which we created with the team at Urban Nation Museum in Berlin.
Today graffiti/street artist AIKO talks about her striking new graphic mural for the façade of the museum that highlights and interprets a suite of recognizable elements from Martha’s iconic photographs – a perfect answer to the Martha Remix section of the exhibition inside featuring 70 or so artists “remixing” her photos in their individual styles.
Later this month we are announcing a collaborative print release worldwide featuring another remix and a countrywide screening in theaters across Germany of “Martha: A Picture Story” with us and Martha interviewed by Nika Kramer at the Berlin opening. At a separate ceremony we also will co-host with Martha and Urban Nation the official opening of the Martha Cooper Library (MCL), a full library facility and research center to be permanently housed in the museum building.
To start off the excitement, here is Lady AIKO herself speaking about her new mural welcoming visitors to see “Martha Cooper: TAKING PICTURES”, now open until May 2022.
Q: Tell us about this mural project for UN. AIKO: Firstly, this mural is a gift for Martha Cooper in celebration of her big retrospective show at Urban Nation. Martha and I have been friends since 2006. We’ve been partners in crime, so to speak, for the last fifteen years. We have worked on many different projects together all over the world from the United States to Japan to Africa. Martha has taken over 16,000 pictures of AIKO and has archived many of her art projects.
I am honored to be part of this opportunity and working with Urban Nation to allow me to create this epic mural for Martha. The museum facade is almost like fresh skin wrapped around her massive historic exhibition with big love from everyone who was part of this production.
Martha and I have been collaborating on this one; it’s called the “Martha Cooper Remix” whereby I interpret and illustrate her images, create paintings on paper and on outdoor & indoor walls. For UN, I easily imagined us creating a big remix piece on the wall.
To begin this mural mission, I asked Martha what she would like to see on the wall; especially since I wanted to paint based on the classic pictures she photographed in NYC. She suggested several of her favorite pictures such as the one with Lady Pink when she was in the yard with the boys, Little Crazy Legs with spray cans, and the boom box one (which is the most iconic picture and the cover photo of the Hip Hop Files). Also, I included break-dancers Emiko and Frosty Freeze which are popular ones as well.
Based on her selections, I spent time at my studio to illustrate a large-scale portrait in my style and imagined it as the giant invitation banner for her show – as if it were a classic hand-painted movie ad in old Times Square. Since her show runs until next spring, till 2022, I’d love to invite everyone and spread the vibe even to the people who see the mural from the U-Bahn train above.
Q:Can you tell us about you and little background? AIKO: I’ve been based in NYC since 1997. NYC has been my playground and a huge inspiration. I met many amazing local and international artists, Faile, Bast, Banksy, Ben Eine, Obey, and Space Invader at that time. We were young artists, not famous yet, but we connected with one after another pretty much spontaneously – as if it were destiny. I started working in street art with everyone daily during the early 2000s and I was part of numerous gallery shows, jams, festivals, and museum installations. Being part of the history of street art and the graffiti (urban art) movement is how I got involved as AIKO as well.
… Meeting Martha Cooper was also another magical happening for me. Martha and I met in 2006 when I just started leaving my boys’ crew, working solo and stenciling bunnies on the streets. We became good and hard-core girlfriends and started traveling together. She introduced me to subway art legends and all other kinds of fascinating people and stuff in the world. I feel I’m one of the people who is continuing the history for the next generation.
Q:What do you think about working in Berlin? AIKO: Berlin is such a memorable place in my personal art life history. I spent lots of time without the Internet and enjoyed every day as a young artist. I made lots of friends and lots of stencils on the street. Of course, I was with Martha and spray-painted my bunny too. I’m so grateful that Urban Nation welcomed me back to town and let me create such a huge piece on the facade of the museum. Thank you so much for everyone’s support.
“MARTHA COOPER: TAKING PICTURES” Curated by Steven P. Harrington and Jaime Rojo is currently open to the general public. Click HERE for schedules and details.
The brilliant Patrick Hartl & Christian Hundertmark (C100) have been at the graffiti/street art/contemporary art nexus for much of the last decade, delineating the boundaries, and then artfully shifting them.
A multi-year project now welcoming guests at Urban Nation’s Special Projects space in Berlin reveals the imprecision of terminologies and commonly-used nomenclature in this period of hyper-hybridization.
Mick La Rock/Aileen Middel VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)
When you consider the volley of influences that bounce and collide on metro cars and street walls and digital screens these days, it makes sense to describe the experimentation now afoot as a dialogue. As the Munich-based duo called Layer Cake, the two artists have been doing exactly that with one another’s art for a half dozen years.
“One begins to paint, the other reacts,” say Hartl and Hundertmark in their recent interview for the UN website. “Thus (we) conduct an artistic dialogue. The marker asks a question, the paint can answers, the brush completes or provokes,” they say, “until both artists agree that the mural is finished.”
It is not an automatic process for graffiti writers to create work this way; as one of the basic tenets of the street, you don’t go over someone else’s work unless you mean to show disrespect or provoke a battle.
Drawing upon an eclectic selection of participants with experience on the street, the two act as curators of the new show called ‘Versus’. The rules are similar to their personal practice – produce a collaborative piece with another artist whose style and references may not match yours directly – with each contributor agreeing when the piece is complete.
The clashing and crashing can be seen on the canvass as each new addition rebalances the abstraction, and not everyone was sure it would work.
Bisco Smith VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)
Artist Flavien Demarigny hesitated to participate versus Layer Cake because he wasn’t sure if he could work with their style that often incorporates calligraffiti techniques, he says. “As it is a major ingredient of Layer Cake‘s visual language I wasn’t sure if I was the right fit for it,” he says in a Facebook post.
“Then I remembered this is precisely what collaborations are about: pushing your limits, opening your perception, and create together new horizons. As a result, we started three collaborative pieces and one came out fantastic, which we decided to present in this show. Their choice of sticking to the repetitive pattern of my style was the wise one, so the two vocabularies can interact, as accidents make it unexpected and create the poetry of it.”
Dave The Chimp VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)
With 13 different artists passing canvasses back and forth – each adding and subtracting, obliterating and augmenting, they say that at the root of the process was a rule not to consult, but rather, react.
The results fairly wrestle under the constraints, each cutting forward, marking and gesturing and claiming space on the canvass. These works illustrate the tension you may associate with the harshly pounding street in cities, sometimes still glittering insistently despite the struggle.
Usugrow VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)
“It is not easy to make an intervention in someone else’s painting,” says graffiti style-writing veteran Mick La Rock of her ingrained hesitancy during the art-making process. “You want to avoid taking the painting over and make it your own style. Every part I added to the painting was thought over at least ten times before painting it,” she says in an interview for the show.
On view in the Special Projects room near the museum, “Versus” is a sharp reminder of the community that joins together on walls and surfaces all over the world. Each style challenges the one next to it, sometimes holds it accountable, other times revealing its true nature. The curators say “The Versus Project is an artistic experiment in communication, challenging dialogue, the struggle for a final form.”
Chaz Bojorquez VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)Wandal VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)Flavien VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)
PARTICIPATING ARTISTS:
Layer Cake (Patrick Hartl und Christian Hundertmark aka C100), Chaz Bojorquez (Los Angeles / US), Mick La Rock / Aileen Middel (Amsterdam / NL), Sebastian Wandl (München / DE), Dave the Chimp (Berlin / DE), Bisco Smith (New York / US), Vincent Abadie Hafez (Zepha) (Toulouse / FR), Formula 76 (Hamburg / DE), Usugrow (Tokio / JP), Bust (Basel / CH), Jake (Amsterdam / NL), Egs (Helsinki / FI), Imaone (Tokio / JP) und Flavien (Apt / FR).
“The Versus Project” curated by Layer Cake is currently open to the general public at the Urban Nation Project Space. The exhibition will be on view until December 31, 2021. Click HERE to find more information about the exhibition, Covid protocols, and schedule.
Project space of the URBAN NATION Museum, Bülowstrasse 97, 10783 Berlin
Our thanks to writer Igor López at El Pais for his article about Martha Cooper and our exhibition running right now in Berlin until Spring 2022. Appearing in the Spanish newspaper’s magazine called ICON, Lopez describes the New York social matrix of the 1970s with pithy acuity; one where the city seemed at war on many fronts while various important cultural scenes were germinating alongside graffiti writing and musicians like Afrika Bambaataa, Grandmaster Flash or DJ Kool Herc who were laying the foundations of hip hop as the dominant global culture.
“One of the first measures of Mayor Ed Koch, who had taken office in 1978 to save the city from bankruptcy and chaos, was to put concertina wire around the subway garages to prevent “vandals” from accessing the city at night,” he writes.
Martha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine Madrid
Enter the documentarians who capture the quickly shifting winds of change, like Martha Cooper, and forty years later we have solid evidence of multi-cultures in motion.
“I thought I was capturing a phenomenon unique to the city and that it would disappear in a few years,” recalls Cooper of her now seminal body of photography that captured the birth of many movements. Dryly modest, Cooper doesn’t brag much. “I am surprised and grateful that my photos continue to be of interest.”
Check out this article in print and online, and please feel welcome to Urban Nation on our behalf this fall, winter, and spring!
Martha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine MadridMartha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine MadridMartha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine Madrid
The exhibition, Martha Cooper: Taking Pictures at Urban Nation Museum for Urban and Contemporary Art in Berlin is currently open to the general public. To learn more about the exhibition’s details and schedules click HERE
Our exhibition got a lot of great press and we like to highlight some of the articles once in a while just to remind you that the museum is now open after a long Covid-19 closure.
The Financial Times Sunday magazine did us the biggest favor by printing a multi-page spread about Martha Cooper and our retrospective of her work at at the URBAN NATION Museum – the first major and expansive photo and documentary exhibition of her career.
As the UN Website says “‘Martha Cooper: Taking Pictures’ sets new standards in the museum program. The curators Steven P. Harrington and Jaime Rojo (Brooklyn Street Art) , in close cooperation with Martha Cooper, have created a multimedia exhibition in which artistic works and documentary material are juxtaposed.
Martha Cooper: Taking Pictures. Urban Nation Museum Berlin. Financial Times Weekend Magazine LondonMartha Cooper: Taking Pictures. Urban Nation Museum Berlin. Financial Times Weekend Magazine LondonMartha Cooper: Taking Pictures. Urban Nation Museum Berlin. Financial Times Weekend Magazine LondonMartha Cooper: Taking Pictures. Urban Nation Museum Berlin. Financial Times Weekend Magazine London
The exhibition, Martha Cooper: Taking Pictures at Urban Nation Museum for Urban and Contemporary Art in Berlin is currently open to the general public. To learn more about the exhibition’s details and schedules click HERE
Graffti Art Magazine: Can you tell us about Urban Nation and about this unprecedented collaboration with Martha Cooper to create this impressive Martha Cooper: Taking Pictures retrospective?
Steven P. Harrington and Jaime Rojo: In Berlin, the Urban Nation Museum has a core mission to educate visitors about the many movements of art in the streets globally. We opened it in 2017 alongside a director, 7 curators, and 165 artists representing five decades and many countries. This first solo show is the museum’s third, presenting a retrospective exhibition of seven decades of Martha Cooper’s photographic career.
Graffti Art Magazine: What narrative do you propose with respect to Martha Cooper’s work through this documentary exhibition?
Steven P. Harrington and Jaime Rojo: The narrative is a world-renowned photographer with roots in ethnology who has traveled the world for 6 decades, shooting peoples’ creativity. Her pivotal documentation of early graffiti and Hip Hop is well-known and cherished, and we want visitors to experience it in the context of a life’s work. The most extensive career survey ever exhibited, it’s culled from Martha’s archives, personal artifacts, and collections. It’s an absorbing display of photographs, black books, ephemera, original works by artists, a video installation, and hundreds of her well-known and unseen shots.
Graffti Art Magazine: What role do you think Martha Cooper has played in the global urban art scene?
Steven P. Harrington and Jaime Rojo: Martha’s unpretentious, revelatory view of a previously hidden subculture unquestionably humanized the practice of graffiti – she gave it a heart and a name. Shooting with the gritty determination of a New York City newspaper photographer, she was also a formally educated and well-traveled ethnographer when she first captured the people, techniques, and graffiti practices. Her photographs from Subway Art with Henry Chalfant made their book the “Bible” of the graffiti writers worldwide for the decades that followed.
Graffti Art Magazine: If you had to highlight one memorable moment of this collaboration with Martha Cooper, what would it be?
Steven P. Harrington and Jaime Rojo: We have two: The first one was our overwhelming sense of discovery during a weekend in her studio – she entrusted us with all her archives, books, ephemera, and artifacts that would eventually help us tell the story of her life. The second one was the Zoom meeting early in the pandemic with Martha and us in New York and Michelle Houston and Reinaldo Verde from YAP in Berlin. After months of trans-Atlantic communications, we virtually toured all ten sections of the exhibition together. Martha loved what she saw, and that’s when we knew the exhibition would be a success.
Graffti Art Magazine: What are your 3 most iconic photos by Martha Cooper?
Steven P. Harrington and Jaime Rojo: It’s hard to choose but we might say 1. Dondi painting at the New Lots Train Yards in Brooklyn. 1980. 2. Subway Art “The Cadets” 1977-1980. 3. Street Play Lil Crazy Legs. Riverside Park, Manhattan. 1983. Hip Hop Files
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