September in New York is a fusillade of the new! And it flies at you from every direction! New movies, museum shows, gallery shows, art benefits, charity galas, concert series, new film series – they all conspire together to overload your senses and if they are worth their weight they challenge and push you/us forward. Street Art never really takes a break and is not programmed, but this fall a number of gallery shows and public installations are taking place. This week alone we were in galleries as much as on the street – as increasingly some Street Artists are able to make the jump to the gallery, and commercial interest continues to build, at least for some.

So call this the Fall opening of Images of the Week – a variety show of work including Elbow Toe (Brian Douglas), Barry McGee, and Zevs in Chelsea galleries, the legal wall of Faile with Collosal Media in midtown, and Paul Kasmin and Michael Shvo converting a corner gas station into a Sheep Station with grassy mounds and mouton sculptures by the late Francois-Xavier Lalanne. We also managed to find some new illegal work – which we have always featured on BSA.

On that note, a quick mention of a recent posting on the site Vandalog by our colleague RJ Rushmore where he reflected on his experiment avoiding posting legal work on his site for a month, and his interpretation of the experience. Cool idea and we love his curiosity and examination of the outcome on his own perceptions. Since he mentioned our work, we’d also like to direct you to our August 21st round-up of Atlanta Living Walls that explores the increasing appearance of legal work in festivals and the like, in case you missed it. BSA has always considered the continuum of Street Art, graffiti, public art, performance art, projection art, commissioned work, gallery work and museum shows. With our roots and track record as artists, performers, professionals, curators, documenters, and directors in New York for the last 25 years, we feel like we have a pretty solidly grounded appreciation for the spectrum of unpermissioned/permissioned works on the street and the multiple entanglements they imply. You probably do too.

And BSA is going to keep exploring so come on and jump on the bus, there’s plenty of room for everyone.

Speaking of buses, here’s an omnibus collection of BSA Images of the Week featuring street, gallery, legal, and illegal work from Angel Ortiz (LAII), Barry McGee, Billi Kid, Brian Adam Douglas (Elbow-toe), Deekers, El Seed, Faile, Francoise-Xavier Lelanna, Gilbert & George, José Parlá, JR, Keely, Niels Shoe Meulman, Spaik, and Zevs.

Top image: Faile with Colossal media on the old Record Plant recording studios – check out a great piece by Becki Fuller on The Street Spot for more detail. (photo © Jaime Rojo)

Brian Adam Douglas AKA Elbow Toe has a solo exhibition “How To Disappear Completely” at Andrew Edlin Gallery. His technique has only improved as it evolves wholistically – with collage, painting, and illustration bringing together his imagined fears and hallucinations with a richly cheery 1950s palette to rally around the metaphors stirred in more recent natural disasters. (photo © Jaime Rojo)

Brian Adam Douglas AKA Elbow Toe solo exhibition “How To Disappear Completely” at Andrew Edlin Gallery. (photo © Jaime Rojo)

Brian Adam Douglas AKA Elbow Toe. Detail. Solo exhibition “How To Disappear Completely” at Andrew Edlin Gallery. (photo © Jaime Rojo)

Brian Adam Douglas AKA Elbow Toe solo exhibition “How To Disappear Completely” at Andrew Edlin Gallery. (photo © Jaime Rojo)

Brian Adam Douglas AKA Elbow Toe solo exhibition “How To Disappear Completely” at Andrew Edlin Gallery. (photo © Jaime Rojo)

Deekers and Keely have a monstrous collaboration in BK that is going to surprise more people as the weather wears this down and the days grow shorter. (photo © Jaime Rojo)

Francois-Xavier Lalanne “Sheep Station” at the Getty Station for a true installation in the public sphere on private property. JR and Jose Parla’s collaboration in the background from their earlier unrelated show repositions their subject as sheep herder. Quel Suprise! (photo © Jaime Rojo)

Francois-Xavier Lalanne and the “Sheep Station” at the Getty Station. (photo © Jaime Rojo)

Francois-Xavier Lalanne “Sheep Station” at the Getty Station. (photo © Jaime Rojo)

We are expecting Julie Andrews to come frollicking across the grass in a striped jumper. Francois-Xavier Lalanne “Sheep Station” at the Getty Station. (photo © Jaime Rojo)

Francois-Xavier Lalanne “Sheep Station” at the Getty Station. (photo © Jaime Rojo)

Billi Kid shares one of his blue pills with you. (photo © Jaime Rojo)

Somehow these days, it feels like Andy is always watching. Billi Kid (photo © Jaime Rojo)

A smart and focused Zevs solo – “Traffics in Icons” at the De Buck Gallery – messes with the modern religious iconography of the corporate logo, liquidating it as he has done a number of times on the street. (photo © Jaime Rojo)

A passerby examines the window display at Zevs solo exhibition “Traffics in Icons” at De Buck Gallery (photo © Jaime Rojo)

Artist Unknown (photo © Jaime Rojo)

Barry Mc Gee solo exhibition at Cheim & Reid Gallery. (photo © Jaime Rojo)

Barry Mc Gee solo exhibition at Cheim & Reid Gallery (photo © Jaime Rojo)

The saturated and sly living sculptures Gilbert & George are newly invigorated spurting up among the bushes on the Highline. It feels like early photoshop tricks on the High Line Billboard and the colors are popping- read into for your delight, titillation, and possible discomfort. (photo © Jaime Rojo)

eL Seed at “Calligraffiti 1984/2013”, a collection of works selected by Jeffrey Deitch to help us trace the lineage of the decorative qualities of the graffiti line, according the hand of the artist in question. Leila Heller Gallery. (photo © Jaime Rojo)

A modern master at his craft, good to see works by Niels “Shoe” Meulman at “Calligraffiti 1984/2013”. Leila Heller Gallery. (photo © Jaime Rojo)

LA2 has the front room at “Calligraffiti 1984/2013”. Leila Heller Gallery. (photo © Jaime Rojo)

A full wall on the street from artist Spaik in Queretaro, Mexico (photo © Spaik)

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