Features

Broken Crow, “When Trust Is the New Money”

November 16, 2010 , , , , ,

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A neighborly nod to the Minneapolis Street Art duo Broken Crow for this successful indoor show, “When Trust Is the New Money” at The XY and Z Gallery in South Minneapolis. Now extended to November 30th, this is an opportunity to see a large indoor installation that evokes the mural work they usually do on the street, transforming the interior of the white box and enabling you to buy part of the mural directly off the wall.

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In an ongoing evolution of their stenciling realism style, John and Mike are again meditating on the preposterous value system that allows man to destroy the natural world with impunity, with a dose of gentle humor.  Their archetype animals depict integrity, puzzlement, and whimsy. Like many artists developing a vocabulary, they re-employ their favorites again and again in different configurations and tableaux.

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BSA had the pleasure to meet these gents in Brooklyn last year and they had us at “Hello”. With a sweet disposition and effortless-looking execution, their priority is painting. No drama, no gossip, no classist kid stuff; They won’t blather or diss and what-not, what-have-you, or whats-for-supper. Well, maybe whats-for-supper. Painting is what they like and that’s what keeps them focused. Proud fathers and loving husbands, these guys juggle their time so they can fulfill family obligations and have plenty of time to stop and smell the aerosol along the way.

If you find yourself in The Twin Cities run to catch the show. XY and Z Gallery is located at 3258 Minnehaha Ave South in Minneapolis. Below is a recent interview Broken Crow did –

P.O.S. on Broken Crow

Doomtree Rapper Interviews Two of His Favorite Local Artists

By Stefon Alexander Wednesday, Oct 27 2010

If you’re not familiar with the work of Twin Cities-based art team Broken Crow, it wouldn’t be too difficult to get up to speed. In the last few years they have managed to paint walls on four continents, everything heavily documented. A quick Google search pulls up tons of images and time-lapse video clips of their signature style: massive and intricately detailed stencils covering urban structures, barns in the middle of nowhere, and everything in between.

Click here to continue reading

Images courtesy and copyright of Broken Crow. See Broken Crow’s Flickr page here:

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Quel Beast: Street Art, Hip Hop, and Cross-Undressing

Quel Beast: Street Art, Hip Hop, and Cross-Undressing

October 15, 2010 , , , , , ,

Quel Beast. Chicky in Chelsea (Photo © Jaime Rojo)

Feeling cocky in Chelsea. Quel Beast (Photo © Jaime Rojo)

 

BSA guest writer Robin Grearson talks about herself, the Street Artist Quel Beast, and the unknowable beast within.
 

I headed to Bushwick’s Wreck Room last week to talk to Quel Beast about art and see how he’s doing.  He’s pasting up some work indoors this week, at Kings County, and a new street piece was almost ready for Chelsea.  The Wreck Room is an unpretentious spot where secrets flow easily, and so, over beer and fried pickles, Quel Beast confided to me his frustrations, some obsessions, and what he would do if he couldn’t make art. But he remained quiet about the street piece, which made me nervous.

 

Quel Beast. Detail (Photo © Jaime Rojo)

Quel Beast. Detail (Photo © Jaime Rojo)

 

Until today, I hadn’t seen it. It’s a woman; full length, but cocky. She taunts passers-by to check her out once, maybe twice.  She’s not wearing much. That much I remembered. She’s like his Chelsea kiss, or, postcard: Dear Art Crawlers. With love from Brooklyn, Quel Beast.

He shows me on his iPhone some of the portraits for the show, called “Back That A$$ Up,” after the Juvenile/L’il Wayne song and video. It’s hours, many beers, two more locations and some wine later, before I ask about the Chelsea girl. Quel Beast answers offhandedly that she’s…weird. I’m sure he knows a better word because he says it like it’s a question. He’s into the piece, and says it exemplifies the direction he sees his style heading. But his question mark says, maybe I’ll hate it, a possibility I hadn’t considered.

I posed for the photo he’s working from to create her. So she’s me, and she’s not. I start wondering if, while painting testosterone-soaked me, her sneer has maybe gotten to him. But then, art is supposed make you feel something, which is the conversation we’ve been having. And I wonder what I will feel when I see her.

Quel Beast (Photo © Jaime Rojo)

Quel Beast (Photo © Jaime Rojo)

 

Quel Beast compares art to music, harshly. Placed side by side, art gets its ass kicked. “Art isn’t good enough,” he says, with reverence for music’s power to evoke feeling, stir memory and stir senses. People quickly filter out tags and stickers as visual noise, he points out, adding, “You don’t have a personal experience with someone’s name, the way you can with music.”

“I hate art. Art sucks,” Quel Beast declares, and we laugh. He’s describing his exasperation with the impossibility of art to realize his ideal of it.

But even as he’s describing most art as dismissible in contrast to music, he is a little distracted, scanning stickers and tags on the tables and walls, naming the artists. “Why can’t art do what music can do?,” Quel Beast wonders, and lays down a gauntlet.  “An artist has a responsibility to reach out and grab someone the same way a ridiculously awesome song does.”

So it’s natural that Quel Beast’s portraits would have music in their souls; for him, “Back That A$$ Up” is the track that conjures the flow and energy of shared experience that he aspires to render in his paintings. But the series is no fan letter: Quel Beast is looking through the video’s lens at his own agenda. He’s retrofitted his painted subjects as though they were plucked from frames of the video, undressed them, and reversed the gender roles.

Quel Beast (© Jaime Rojo_

Quel Beast (Photo © Jaime Rojo)

 

He designed the portrait series as his inquiry into the source of our judgments. Where do conclusions come from, for instance, about a two-dimensional woman who may be posturing instead of pouting but in other ways remains unknowable? “Why is it that just because you put your body into certain positions, people will assume anything about you, your identity or your sexuality?,” Quel Beast asks, without knowing the answer.

Juvenile and L’il Wayne provide Quel Beast with audio inspiration for his paintings, but their lyrics tow the misogyny-and-hetero line. Quel Beast reveals only a cool nonchalance about this apparent collision of cultures. By co-opting the rappers’ revelers in an effort to unlock an insight or two on identity politics, won’t Quel Beast ostensibly alienate those fans who would be drawn to a show inspired by hip hop? The more secrets he tells me, the more a picture emerges of someone who doesn’t mind making people uncomfortable.

Early this morning, Quel Beast showed me the Chelsea girl. She has my straight, boyish hips, and a casual, male confidence that is impervious to judgment. Within that masculinity, though, something remains defiantly feminine. He looked at me and said with a shrug,  “If there’s one thing I learned from rap, it’s how to deal with haters.” —Robin Grearson

BSA………….BSA………………BSA………….BSA………………BSA………….BSA………………BSA………….BSA………………

 

Quel Beast, “Back That A$$ Up”, October 16, 10 PM, Kings County, 286 Siegel Street, Brooklyn, NY 11206.

Robin Grearson is an independent writer and essayist living in New York. She has written for The New York Times.

Robin Grearson: www.robingrearson.com

Quel Beast: www.quelbeast.com, facebook.com/quelbeastart

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Print Is Dead, Long Live the Print Journal! Elisa Carmichael’s Passion

October 4, 2010 , , , , , , ,

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Detail of a photograph by Boogie on the cover of The Art Street Journal

Print publishing has been a heavyweight boxer on the mat with both shoulders pinned down for the last 7, 8, 9, 10 years.  The multitude of problems that plague the publishing industry these days are rapid-fire punches: The down-shift economy, ad dollars swinging for  social media, the high cost of print, and changing consumer behavior all sing the coda of the paper page. A recent survey published in Oriella Digital Journalism found that more than half of journalists surveyed think that their printed journals will eventually be knocked out cold by online.

Given this current climate, how can you dream of publishing a new free art magazine? Even the most entrepreneurial art fans would be discouraged, but Seth and Elisa Carmichael are no strangers to obstacles and their project, The Art Street Journal, is now in it’s second successful year.

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Their L.A. gallery ‘Carmichael Gallery for Contemporary Art’ had already been in business for about a year when they were hit by personal trouble.  The new bride Elisa, a British citizen and an Australian resident, had to leave the continental USA to tend to some very important and grievous family affairs back home. Compounding her hardship, Elisa discovered her return to The United States was barred due to visa technicalities. A prolonged calvary of Kafkaesque events ensued before she was able to re-unite with her young husband in California. It was during this time they began planning a newspaper about the thing they both love most: art.

Elisa and Seth are avid supporters of contemporary, street and urban art and believe that art must play a significant place in human development. Elisa’s new idea of editing and publishing a journal would focus on celebrating and supporting the arts and the community involved in its creation.

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Detail of a piece by Sixeart on the cover of The Art Street Journal

We wanted to know what motivates Elisa to continue with her almost quixotic path to publishing and distributing a free print journal when many well-established and respected journals are folding by the dozen.

Brooklyn Street Art: Why are you and Seth publishing a printed journal when most publications in print are struggling to survive? What keeps you motivated to continue to publish it?

Elisa Carmichael: We have always wanted to have a magazine – it’s something we’d talked about doing for a long time. We enjoy blogs and considered starting one of our own, but decided in the end that we’d rather do something a bit different.

We have a shared love of books and magazines that goes back long before we met and believe that nothing can replace the magic of print. The Art Street Journal (TASJ) has given us a unique opportunity to support the artists and events that interest us in a medium we want to help keep alive.

We’ve received so many kind notes and words of encouragement from readers all over the world in the past year. It means so much to us that people enjoy TASJ. Connecting to a broad network of international art lovers has been a key motivator in keeping us going.

Aside from the enjoyment we derive from putting each issue together, our motivation comes from the positive response and rapid growth of our readership. It has been really interesting to monitor: Even though TASJ is a free publication, we really weren’t sure anyone would be interested in it. We have some great supporters out there – galleries, museums, clothing stores, cafes, specialty bookstores and individuals doing drop-offs at various locations in their cities around the world.

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Detail of a piece by Nina Pandolfo on the cover of The Art Street Journal

Brooklyn Street Art: The journal’s main focus is in Street and Urban art. What drove you to this art genre in the first place?
Elisa Carmichael: TASJ certainly supports street and urban art, but its focus is really contemporary art as a whole. You will see many artists featured on our pages who have a street background because we love the energy inherent in Street Art. It’s an art form we are both very passionate about and believe has an important place in art history.

That said, TASJ is not a Street/Urban art magazine. Our aim is to curate content that combines the best art from the underground, emerging, and mainstream established worlds. The journal has an aesthetic through-line that links the artists we cover, regardless of their background, and I think that comes across when turning its pages. We also try to keep the editorial diverse and internationally focused, as well as give time to people and events that haven’t had too much coverage from other media outlets.

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Detail of a piece by Street Artist Mark Jenkins on the cover of The Art Street Journal

Brooklyn Street Art: What’s your ultimate goal with TASJ?
Elisa Carmichael: There’s a place for all sorts of publications in the marketplace, but for us, the number one goal is to get the message out about the art we love to as many people as possible. We don’t believe that every nice independent art magazine needs to cost $20; there should be something out there that everyone can have access to. TASJ will always remain free.

We have a lot of different plans and goals —TASJ has quickly become a far bigger project than we originally envisioned and at this point it is really our second business. At the same time, we’re trying to let it develop organically and improve it a bit each time we bring an issue out. In one year our 4 page black and white newspaper is a full color magazine-style periodical.

Another goal we have is to show our art world associates that it’s possible for gallerists to want to support other galleries and artists, even when there is no personal or financial relationship. There is far too much cattiness and rivalry in the art world as it is without our contributing to it. We know how hard it is to stay alive and make things happen in this business and we respect the people out there who are doing just that. We like the fact that we’ve been able to build a little platform from which to celebrate those people and not ask for anything in return.

brooklyn-street-art-TASJ-FAILE-Covers-Elisa-Carmichael

Detail of a piece by Faile on the cover of The Art Street Journal

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Specter Spot-Jocks Shepard Fairey in New York City

Specter Spot-Jocks Shepard Fairey in New York City

September 11, 2010 , , , , ,

Ice-T is still stylin’ like an American Che Guevara, but he’s officially joined the force 19 years after “Cop Killer”.

Brooklyn_Street_Art_740_Specter_Shepard-Fairey_Before_After

photos © Jaime Rojo

As part of a string of strikingly personalized spot-jocking intended to send shivers through the New York Street Art scene, artist Specter is brazenly re-crafting other artists pieces, including high profile names like Swoon, Faile, Skewville, and Shepard Fairey.

This discovery side-busted our heads when we saw the radically altered Shepard Fairey piece – a myriad of nested ironies that takes “homage” to a new level. Or is that a “diss”?

The Fairy piece he’s messing with is a 2010 version of his Nubian Signs that appeared on walls during the run-up to his May Day gallery show this spring at the now closed Deitch Projects in Soho. Since that time, the wheat-pasted piece has weathered and faded. As part of Specters reworking of the piece, the portrait of Ice-T, itself criticized for incorporating the iconic image of Che, is now backed up by his fictional TV partner Detective John Munch from Law and Order: SVU. Ice-T has a new posse. Aside from that quizzical pairing that has left Street Art watchers dumbfounded, it’s even more confusing that Fairey’s original was restored before Specter smacked his own piece on top.

Brooklyn_Street_Art_740_Specter_Shepard-Fairey_AFTER

photo © Jaime Rojo

“It was totally defaced, you could not make out what was going on anymore,” said Specter this week when reached for comment.

Dissing doesn’t usually include restoration.

Explaining the choice of adding Ice-T’s fictional police partner to the existing Fairey piece, Specter talks about the duality of a celebrity’s image that can produce a cognitive asymmetry.

“Ice-T plays a detective on a very popular crime show that everyone likes so much. (My piece) is kind of poking at these popular figures – who maybe were seen as a visionary. This was a rebellious figure, who is now on prime time television playing a police detective, who he previously was talking about shooting.” According to the show’s website, the rapper-turned-actor “formed the thrash metal band Body Count”, whose “1991 self-titled debut contained the controversial single ‘Cop Killer.’”

In an additional homage to Fairey, Specter appears to have used a copyrighted promotional photo off the internet to interpret Detective Munch – calling to mind the current lawsuit Fairey is defending himself against that accuses him of incorporating copyrighted material to create his famed Obama poster of two years ago.

In this piece by Street Artist Swoon that has been up for perhaps two years and has sufferred wear, tear, and sprayed out faces, Specter meticulously repairs the visages and adds a bit of fabric. (photos © Jaime Rojo)

In this piece by Brooklyn Street Artist Swoon that has been up for perhaps two years and has sufferred wear, tear, and sprayed out faces, Specter meticulously repairs the visages and adds a bit of fabric. (photo left © Specter, right © Jaime Rojo)

In each of the cases where Specter is hitting the street art of somebody else, the style and technique closely mimics that of the original artist, creating a counterfeit that so closely resembles their own body of work that it could be confused theirs. This alone opens up a discussion about high-jacking a message, misleading a passerby, or even damaging a reputation.

A new piece by Swoon! Wait, maybe not. (photo © Jaime Rojo)

A new piece by Swoon! Wait, maybe not. (photo © Jaime Rojo)

This new crop of “side-busts” may get him in hot water, but Specter is giddily unapologetic to the other street artists whose work he’s jocking. In an extensive interview he talked about the nature of impermanence implicit in the Street Art scene, his own weariness with attempts at codification of rules that some have endeavored to create for the street, and the fact that many of these pieces already have run for a long time – so they’re fair game according to his rules. For Specter, it is evident that this project is a social experiment as much as an expression of creativity and an attempt to shake open a can of conversation.

Brooklyn_Street_Art_740_Specter_Skewville_Before_After

For a series of posters by Brooklyn Street Artists Skewville, who have done their own block-letter wisecracking spot-jocking in the past with street pieces by Fairey, Elbow Toe, and Gaia, Specter shoots close to the bone. (photos of Skewville and Specter above © Jaime Rojo)

Poking the Monkey

Is Specter sort of poking the monkey to see what will happen? Surely he knows that someone is going to see it as a sign of disrespect.

The cheerful Specter replies, “Yes, of course. I also thought it was also kind of good to push the button. It might piss them off, or they might love it or they might hate it. The point is I can do it regardless because of the nature of the work.”

Specter adds a waving American flag to the partially destroyed collage image by BAST. (photos © Jaime Rojo)

Specter adds a waving American flag to the partially destroyed collage image by BAST. (photos © Jaime Rojo)

In the Street Art world, as in the graffiti world before it, the unwritten “rule book” (existing mainly in the heads of the participants) pretty clearly marks ones territory. Putting up your piece too close to someone else’s, let alone over part or all of it, can occasion vendettas, retaliation, or at least some trash talk. Never mind that this claim to real estate sometimes refers to a building actually owned by somebody else entirely – a bothersome contradiction that falls to the wayside when street rules are in effect.

That's no mare! Specter re-genders the scuba diving horse of Street Art duo Faile (photos © Jaime Rojo)

That’s no mare! Specter re-genders the scuba diving horse of Street Art duo Faile (photo left © Specter, right © Jaime Rojo)

“I was talking to another Street Artist who was saying that people were angry with him for spot-jocking and I said that’s what these pieces are about: the ridiculousness of these kinds of ideas. It all harkens back to these ‘rules’ of this anarchistic form of art. Street Art can be this unauthorized kind of art form and people are like, ‘Oh you shouldn’t come within 12 feet of me’. This project talks about that too and it’s supposed to bring up this dialogue. I really think that these issues need to be discussed because people take it very seriously”

Perhaps a reference to recent street art stencils dealing with LGBT issues, Specter uses pulp-fiction styled lettering and a pretty bow to give this Faile piece a sex change. (photo © Jaime Rojo)

Perhaps a reference to their recent stencils dealing with LGBT issues, Specter uses pulp-fiction styled lettering and a pretty bow to give this Faile piece a sex change. (photo © Jaime Rojo)

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Want to be on the BSA Mailing List?

October 12, 2009

We have so much fun every day with Brooklyn Street Art. But sometimes you are too busy to read the ol BSA blogaroo, because, uh, you’re busy!

We’re starting a helpful service for you called the BSA Newsletter! You can get it all once a month condensed down to the most scintillating images, insightful insights, and mind-numbingly meaningful hard-hitting street art journalism this side of the Gowanus Canal!

If you’re not on the mailing list, here’s a perfecto tuniopperty to Sign Up! We’ll be hitting you up with truckloads of meaningless spam in no time. Kidding!  You can also click “unsubscribe” anytime if we’re being obnoxious.




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Josh MacPhee review of “Street Art San Francisco: Mission Muralismo”

September 22, 2009 ,

Street Artist Josh MacPhee is also an author, cultural reviewer, activist, and about 27 other things.  He recently reviewed a new book on street art from San Francisco and shared it with us.

In Josh’s writing you can always get a sense for the historical underpinnings of the street art and public art movement that arose apart from the graffiti scene, as well as the deep connections between social justice, education, and the mural as message.  Rather than being a derisive self-satisfied critic, one can appreciate Josh’s opinion because he takes the time to educate himself, consequently educating us in the process.

hj

Street Art San Francisco: Mission Muralismo by Annice Jacoby and Carlos Santana, Abrams, 2009

Josh’s review of

Street Art San Francisco

I gotta say, at the first crack of the spine of this book I was immediately nostalgic for San Francisco, strangely enough a city I’ve never even lived in! There was something extremely powerful about the streets of SF between 1997-2004, even for a visitor and outsider like me. Coming to the city, and the Mission District in particular, was like walking into a giant, explosive, exciting car crash of ideas, experiences, ideologies and people. The walls literally dripped with the shrapnel, covered with the remnants of 1970s & 80s murals, anti-gentrification screenprinted posters, art student graffiti, Latino gang markings, weirdo street artists, anarchist slogans, and billboards triumphantly announcing the dot-com and real estate booms. And for the most part this book does a great job of capturing that energy and feeling, carrying us through the blur.

Although Street Art SF is broken into sections, they are fairly hard to distinguish, which in many ways is a good thing, allowing the reader to flow from one style to another, fade between histories, jump between artists, just like a pedestrian on Valencia, Bryant or Mission streets would. Don’t let the title fool you, this isn’t just another edition pulled of the seemingly endless conveyor belt of dull “Street Art” book cash-ins. Likely a smart marketing move to put street art first in the title, this is really a mural book that understands and values the contributions that street art and graffiti have added to the brew of public expression.

Images from "Street Art San Francisco"

Images from Street Art San Francisco: Mission Muralismo

From an outsider’s perspective the book is quite exhaustive, from the origins of the SF mural scene in Diego Rivera’s 1930s/40s trips to the Bay Area to the Billboard Liberation Front and everything in between. So many of the diverse artists that have added to the walls of SF are in here that it makes the head spin (including Rivera, Robert Crumb, Spain Rodriguez, Juana Alicia, Susan Kelk Cervantes, TWIST/Barry McGee, Margaret Kilgallen, Susan Greene, Ester Hernandez, Michael Roman, ESPO, Mona Caron, Scott Williams, SF Print Collective, Chris Ware, Rigo, Swoon, Cuba, Andrew Schoultz, Ray Patlan, Aaron Noble, Ivy Jeanne, Heart 101, Aaron Noble, and hundreds of others). By carrying us back and forth through all these artists and history, the book helps express the larger birds eye view of the Mission scene, something that is different and more than just a sum of its parts. But don’t worry, most of those parts are here, too, and many of them not just captured in images, but also in the words and ideas of the artists. The pictures tell a million stories, but thankfully we’re given some written history and stories too. Each page answers questions I’ve always had, including the origin of the thumb-sucking Wolverine painting in Clarion Alley, how the Balmy Alley murals came to be, and the names and pieces of stories of dozens of artists whose work I’ve admired on the street for years but I knew little or nothing about.

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Images from Street Art San Francisco: Mission Muralismo

Although I first started visiting SF in the mid-90s, it wasn’t until 2001-2003 that I started spending significant time in the city, or adding to the messages on the walls (full disclosure: one of the quick and dirty murals I designed with friends is featured in the book).

Read the rest of Josh’s review at JustSeeds.org

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AIKO’s biggest Stencil So Far: Power, Sex, and the Saxophone

AIKO’s biggest Stencil So Far: Power, Sex, and the Saxophone

September 2, 2009 , , , ,

Aiko Nakagawa shows off her newest stencil (photo Martha Cooper)

Street Artist Aiko worked with the Younity Collective to put up a large mural as a gift to the community recently right next to the Williamsburg Bridge. The all-woman collective, started in 2007 by Alice Mizrachi and Maria “Toofly” Castillo, empowers individuals as artists by creating projects together and celebrating the strengths that each one brings to the game. Now nearing 60 artist members, including multiple disciplines and many names in Graff Art and Street Art you might know such as Lady Pink, Swoon, Drexel, Martha Cooper, and Shiro, the Younity Collective offers much needed support to artists through comraderie and community projects.

When asked about her approach to the project, Aiko agrees that it is very personal, “It made me feel happy to keep working on the mural. It’s a nice feeling to create something beautiful for everybody’s everyday life. If I have a talent to encourage people, make them smile and to cheer them up, that’s totally great.”

Aiko

Aiko plays her cards with a full hand (photo Jaime Rojo)

Brooklyn Street Art: Is it fun to work as part of the Younity collective?
Aiko: It was fun to be part of Younity’s project and I’m glad they called me up. Even though I rarely go bombing with boys, staying away from illegal street activities and focusing on indoor works these days, it brought me all the good energy about working in public space and spending time with other artists again. Plus all girls were very chill, no beef.

AikoAiko (photo Jaime Rojo)

Brooklyn Street Art: The stencil is quite large! Do you usually work that big?
Aiko: A big wall is such a great challenge. I love listening people say “Holy Sh*t, Aiko!!!” from behind me while I’m painting. Actually a lot of people who have been following my exhibitions might notice that my works are getting bigger and better. Stencil is my favorite tool to paint with and I’m so good at using the knife. It took me at least a few days to cut such a giant stencil like that. It killed my fingers and the material is really delicate to handle, transport, and place on the wall. Winds and a bumpy surface is enemy for painting. But what a wonderful feeling to see the finally sprayed image on a wall after all this effort. Big stencils are such joy.

Detail of mural by Aiko (photo Martha Cooper)

Brooklyn Street Art: Your main image is a woman playing a saxophone – is that because
of the jazz club inside?
Aiko: The image of the sexy lady with saxophone was also the request from the owner, who runs the historical live music house, WMC Jazz (Williamsburg Music Center). I love music and dance, and I’m very happy to contribute to the local community in Brooklyn.

Aiko (Detail)

Aiko (Detail) (photo Jaime Rojo)

Brooklyn Street Art: Your colors are very feminine and strong for this piece. How do
you choose your colors?
Aiko: If we can say that paintings are results of an artist’s conversation with themselves and it appears as color and image on the wall, I guess that color is my feeling at this moment. I am in the really feminine, very sexy and super strong phase of my life.

**************************************************

Lady Aiko embarks this fall on a long trip to participate in shows abroad.

Aiko’s Website

Younity Collective

The Younity Collective are: Alice Mizrachi, Maria “Toofly” Castillo, Albeni Garrett, Aiko Nakagawa, Alexandra Casula, Alexia Webster, Jane Dickson, Amanda Lopez, B.I.C., Cece Carpio, Dee Keating, Diana McClure, Diana Schmertz, Diva, Drexel, Erotica, Faith47, Female Sneaker Fiend, GMO$, Heather N. Hayashi, Helene Ruiz, Katrina “RUKUS” Knutson, Kelly Jeanne Lever, Krista Frankln, Lady Pink, Laura Meyers, Lexi Bella, Lichiban, Lisa Case, Lisa Marie Thalhammer, Mad C, Martha Cooper, Meridith McNeal, Muck, Nancy Rodriguez, Nanibah “Nani” Chacon, Naomi Martinez, Niz, Not Bad For a Girl, Kerri O’Connell, Paulina Qunitan Jornet, Petra Moser, Queen Andrea, SHIRO, Sofia Maldonado, Stephanie Land, Swoon, Nanilla Medallions, Andrea Celilia Bernal, Gabriella Davi-Korasanee, M.I.S.S., Nubby Twiglet


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