Poet of the street Know Hope is in New York this week contemplating walls and occupying space. He spent some time in the East Village creating a new wall called “Stampeded” with Keith Schweitzer of MaNY Projects. The Israel based Street Artist uses his figures, with their bending poses and tormented hearts, to enact the stories of the world. Confident and deliberate, Know Hope traces an internal dialogue known mostly to the painter, but also to you if you care to observe.
The angular and contorted limbs of the figures are not dissimilar to those of the artist, and the poetic storylines are not unlike the battles of those who walk by. Quietly, this is a poet with a brush and a pot of paint.
We asked him if he writes the poem first then paints it. He said that sometimes the words come to him as he paints, but he does not consider himself to be a poet – not in the strict meaning of the word. But we disagree, of course.
Hells yes, it’s the invasion of the art fairs in New York – and all the associated events around them, including Bushwicks Beat Night and Williamsburg’s Arts Not Fair in the People’s Republic of Brooklyn and many galleries have special programming planned for the weekend around the city. The big fish is the Armory, which is apparently taming itself down a bit if last nights opening was any indication, and their door is a hefty $30 – boutique indeed. But the hardy street art fan never pays anyway, from what we’ve seen.
Also this weekend are Fountain,PooL Art, Scope New York, Volta , Art Now, and Theorize which are more affordable or free and can be a lot more interesting frankly. Or, just hang out on the street with your bagged container and check out the street art on selected streets and abandoned lots in neighborhoods like the L.E.S, Bowery, Chelsea, Williamsburg, Greenpoint, Bushwick, Red Hook, Long Island City, Dumbo. It’s cheap and you might get invited inside for a party if you bring a couple cans of beer. As you know, it doesn’t cost money to access the creative spirit.
1. Armory Arts Week
2. Fountain
3. Volta
4. Scope
5. Lisa Enxing at Le Salon d’ Art
6. Ambush Gallery, “Project 5, Volume 4”
7. “Beat Nite”
8. “Hyper/Hypo” at Secret Project Robot
9. OBLVN “100 Paintings at Klughaus Gallery
10. Jef Aerosol “Hot Spots” @ Galerie Austral
11. Street Artist Ives.One (Video)
For further information regarding Armory Arts Week click here
This year Fountain has provided a 200 foot long wall for a slew of Street Artists, including Chris Stain, Know Hope, GILF, Imminent Disaster, Joe Iurato, LMNOP, Elle, ShinShin, LNY, Cake, En Masse, Sophia Maldonado, Hellbent, Radical! and Wing. See some behind the scenes photos posted yesterday here.
Fountain include a great line up of galleries that promote, support and represent Street Artists including: Kestin/Ray Gallery, Mighty Tanaka Gallery, The Market Place Gallery and Marianne Nems Gallery.
The Brooklyn gallery Mighty Tanaka will be having a greatest hits collection of work by almost everyone in their stable of untamed horses. One of the best walls is the dual red white and blue side by side 3-D sculptural wall installations by Skewville and Miguel Ovalle – including swords on the bottom of the Ovalle piece for the kids.
Featured at Might Tanaka are Abe Lincoln Jr. Adam Leech, Adam Void, Alexandra Pacula, Alice Mizrachi, Andrew H. Shirley, Burn 353, Cake, CAM, Celso, ChrisRWK, Conrad Carlson, Criminy Johnson, Curtis Readel, Don Pablo Pedro, Drew Tyndell, ELLE, Ellen Stagg, EVOKER, Flying Fortress, Gigi Bio, Gigi Chen, Greg Henderson, Hellbent, Hiroshi Kumagai, infinity, JMR, Joe Iurato, John Breiner, Katie Deker, Lamour Supreme, Masahiro Ito, Matt Siren, Max Greis, Mike Schreiber, Nathan Pickett, Nathan Vincent, NEVER, Peat Wollaeger, Robbie Bush, See One, Sofia Maldonado, TooFly, UFO, Vahge, VengRWK, VIK with exclusive murals by Miguel Ovalle & Skewville.
For further information regarding Fountain Art Fair click here
Volta
Carmichael Gallery from Culver City, CA will be exhibiting new works by Aakash Nihalani.
Armory Week is back in town and Fountain Art Fair is nailing it. At the moment – literally. Walls are going up as you are reading this. 200 feet of walls are dedicated to Street Artists – Enough said. Fountain has moved inland this year from the floating, sometimes harrowing, gallery and submarine Murder Lounge on the Hudson waterfront, and in many ways the new Fountain also feels more grounded. Don’t worry, not too much.
Apart from being in an actual Armory building, a 106 year old institution that lends a certain New York Beau-Arts grandness to it all, Fountain is still anybody’s guess in terms of content and execution; which in our minds is precisely the point of going. The chaotic nature of the creative spirit as wielded by many of these youngish artists means that they are better thought of as corralled, rather than curated, into this grand sweeping space that has plenty of headroom. Part punk D.I.Y. art party and part Occupy Art Fair, the promise of Fountain lies in the work and your own sense of exploration, rather than the prepackaged pomp of slick-talking retailers.
Naturally there are a slew of Street Artists in Fountain this year, including Chris Stain, Know Hope, GILF, Imminent Disaster, Joe Iurato, LMNOP, Elle, ShinShin, LNY, Cake, En Masse, Sophia Maldonado, Hellbent, Radical! and Wing. BSA caught some of them working in the last couple of weeks as they completed pieces and we give you some sneak peeks here.
LNY, one of the newer Street Artists of New York at the moment, talked to us as he prepared his Fountain piece deep in Bushwick. His careful illustrative style has an unassuming quality, a sort of hand rendered fantasy he is channeling, and discovering, mixing and remixing symbols and imagination.
Brooklyn Street Art:How did you arrive at your current hybrid style of human/animals? Your depictions keep the humans remaining wholly human and the animals remaining wholly animals. They just seem to be attached to each other? LNY: Animals are very interesting on their own but at the same time they have been used symbolically so much everywhere. For instance I noticed that many countries use the eagle as a national symbol: Egypt, USA and Mexico all have eagles in their national symbols. When I have an inclination to draw I often find myself drawing animals.
Brooklyn Street Art:On this piece you are working on for Fountain you have NYPD Mounted Police with wings on them? LNY: Usually my ideas just sort of pile up and then they get to something else. For instance the wings are going to be fire actually. I will add a couple more riders and they could be an apocalyptic kind of scene. The fun thing about symbols is that you can read whatever you want into them. I like the ambiguity of symbols a lot.
Brooklyn Street Art:How do you find the process of painting? LNY: I really don’t paint anymore. I used to paint. What I used to do with painting doesn’t work anymore because I lost faith in the idea of painting – so I have to find something else.
The weather is turning friendly, and RETNA is encouraging the conversation
We have been having a very mild winter in New York, even scarily warm. The daffodils are almost in bloom and you can already see the faint shades of pink on the buds of the cherry and apple trees. “Wait!”, we want to yell at them, “Wait! – there might be a frost yet.” But when it is sunny and warm out, everybody wants to come out and play.
For example Los Angeles based Street Artist and fine artist RETNA, who took Saturday through Monday to complete the Houston Wall with his brightly secretive musings, messages, and tributes painted in his now famous alphabet. Maybe it was the holy day, or the holy hangover, but watching this piece appearing on Sunday was like seeing the wall turn into a soaring stained glass cathedral of gestural markings in crimson and blue, a private prayer out in the open.
Watching an artist at work is always a pleasure and it is a gift to see the unfolding magic of a community coming alive on the street, bonded by the humanizing experience of art in progress. RETNA can be playful, serious, contemplative, relieved, pleased, and you will see it all.
Houston Street is not one of those quiet hidden romantic streets where an artist can just zone out, no matter the hermetic fit of headphones; this rumbling thoroughfare splits Manhattan loudly and boisterously, dividing Soho from Noho, both ever more expensive and increasingly mall-like these days. Whatever the composition of foot traffic, the sense of community comes alive in this sacred presence of the creative spirit; Passersby, complete strangers, well-wishers and friends stop to say hello, to ask a question, dare a request, or just silently and introspectively observe the process.
Our weekly interview with the street, this week including Bronco, Cindy Sherman, Dan Witz, LNY, Miyok, PK, Read, Royce Bannon, Stikman, Swoon, Trojan Horse, Various & Gould, and Who is Charlie?
Artist Jean Seestadt Plants a Package in a Bus Stop
Since the never-ending “War on Terror” commenced so publicly a decade or so ago, an intermittently insistent campaign exhorting the public to be aware of odd things and behaviors has beat a steady message of fearful dread in New York. Posters on buses, brochures in city offices, and disembodied, firmly voiced recordings on trains and in airports remind us that evil walks secretly amongst us and we should be ever-vigilant and tell the nearest police officer if you see something suspicious.
Aside from the obvious challenge of staying alert on the morning subway ride when you haven’t gotten a coffee yet and you stayed up until 2 am playing “Call of Duty: Modern Warfare 3”, the plain fact is that most New Yorkers have no idea what strange looks like. We lost that ability sometime after hippies and freaks turned into punks and goths, pants dropped below butts, zombies had parades, “no pants day”, men started making out with each other on the park benches, and of course Donald Trumps hair. For something to catch our eye these days it would have to have to be levitating or in some way involve chocolate. Otherwise, we’ll keep walking and texting.
The billowing cloud rising in Manhattan this time is from artist Jean Seestadt, whose cut paper installation in the bus stop entitled “If you See Somethin” evokes one prevailing vision of the unmarked package spilling forth it’s curvilinear bilious hot plume into a public place with a stylized hand. On a warmish evening last week it went up on this buzzing island metropolis without anyone saying something.
Following a similar installation in the subway a few weeks ago, Seedstadt brought her new installation to a well lit bus shelter on the street. Aided by a stool, a roll of tape, some scissors, and her good friend Nick, Jean rolled up her sleeves and installed her new work while some people stood by looking, pawing through their mobile devices, or leaning forward to preen down the street for a bus. Cacophonic truck and car traffic, including periodic police cruisers, rattled by in the night while the two enterprising Street/Public Artists took turns teetering on the stool to get it to hang just so. If anyone paid attention at all, no one said something to the artist or her assistant. You see??
Brooklyn Street Art:You have done painting and ink work previously. What do you think of cutting paper? Jean Seestadt: Cutting paper has all the things I like about painting and works on paper, I love the tedious beauty to it, but I was having a really hard time feeling that I could reach a viewer to the fullest when I am forced in a square 2D format. Also, the process of letting go of the overly crafted piece and knowing it is eventually going to turn to litter is a real release.
Brooklyn Street Art:Would you say these are sculptures? Jean Seestadt: They are very sculptural… I guess I think of them more as site-specific installations. They have no meaning when they are in a static setting.
Brooklyn Street Art:What leads you to mount this work in such a public place? Jean Seestadt: I was interested the fragile, traditional paper cutting medium being forced into a public context. Each piece will be eventually be broken down by either the viewers or by the environment. Because it is not in a precious space the viewer can approach the work however they’d like-if that means touching it, ripping it, taking it, or taking care of it. The piece doesn’t really work without people feeling free to do whatever they want.
Brooklyn Street Art:Have you seen paper cut work by street artists? Jean Seestadt: I’ve only heard of Swoon… it doesn’t seem like the ideal material for street art because it only last for a day if you are lucky. But street art is all about the temporal nature of the city’s surroundings so I think it makes a lot of sense as a medium.
Brooklyn Street Art:What makes you explore the theme of “If you see something, say something”? Jean Seestadt: I was interested in the daily reminder we all digest about terrorism and how it is a fragile ghost of this city. It just floats about our transit system and I thought it was really sad and strange. People might think I am making light of terrorism but I am really not.
In this month long installation and group show curator Brad Truax turns the lens onto the artist and asks them to explore themselves and the way in which they make art. Are they-
The exploration of the state of mind of the artist will give incite into their work offering a glimpse at the creative process and the aesthetic accomplishments and styles which develop out of these different emotional states… It will be interesting to see if the viewer’s expectations correlate to how the artists actually approach their work- which in turn puts the lens onto the viewer, asking them to gauge their assumptions about the way in which they look at art.
The Superior Bugout is very stoked to present a really tight line up of amazing musicians / artists for this night, wednesday 10pm at the el dorado in brooklyn (976 grand st). come out and celebrate the new party holiday LEAP YEAR 2012!!!
with:
JAPANTHER
NINJASONIK
FAKE HOOKER
JOGYO
BEEF
and DJ DIRTYFINGER
with art walls by SMELLS / CASH4 / FADE AA / R2 / GEN 2 / UFO 907
MARCH 10—APRIL 1, 2012
OPENING: SATURDAY MARCH 10, 2012 FROM 6-10PM KLUGHAUS GALLERY
47 Monroe St. New York, NY 10002
Emerging Pacific Northwest artist OBLVN hand paints 100 exclusive illustrations in honor of New York City debut—New York, NY – Feb 27, 2012 – Klughaus Gallery is proud to announce the debut of “100 Paintings,” a solo exhibition of brand new, one-of-a-kind illustrated works by Portland, Oregon-based artist and cartoonist Aaron OBLVN. In honor of his first ever east coast show, OBLVN has been hard at work for months preparing one hundred illustrations exclusively for Klughaus; highlights of the character and cartoon-heavy exhibit include contemporary, tongue-in-cheek remixes of classic cartoon characters like ‘Felix The Cat’ as an art thief and ‘Dennis the Menace’ as a vandal, as well as many original works, from mischievous spray can characters to runaway inkwells.
Why one hundred works? “I’ve been drawing my whole life, but really focusing on this style for about three years now—but not on this scale,” says OBLVN. “I read once in a sign painting comic strip by [cartoonist] Justin Green that it takes about 100 hours of brushing before you finally get your lettering down,” says OBLVN of one of the motives behind sitting down to tackle the daunting task of creating one hundred pieces of art for a single show. “So I figured if I did 100 characters, I would definitely get some good practice in. I can tell from the first cartoons I started doing a few years ago that I’ve gotten better. It’s always great to see your own progress.”
In addition to breaking the gallery record for the highest number of works in a single show, the breadth and depth of OBLVN’s body of playful, accessible work makes “100 Paintings” a show with literally something for everyone. “I love cartoons,” he says of his trademark subject matter. “I’m picky, but I love a lot of styles. From Vaughn Bode, Basil Wolverton, Skip Williamson, Text Avery, Ralph Bakshi and John K to more contemporary artists like Barry McGee and Todd James.”
In this vein “100 Paintings” is both a one-of-a-kind body of work as well as a collective ode to the artists OBLVN emulates, and he is looking forward to piecing together his collection of puzzle pieces in New York City: “I’m really stoked on the work as a whole,” he says. “So much of my time is spent up close with the pieces, my face only a few inches from my brush and the ink that it’s sort of crazy to step back and see the work as a body. It’s pretty cool to see how much I cranked out. It’s so awesome that [the opening] is in NY, but seriously daunting. I’m excited.”
The opening for “100 Paintings” will take place Saturday, March 10th from 6-10 pm. Please RSVP to rsvp@klughaus.net.
Our weekly interview with the street, this week featuring AVOID, Boxpark, Dan Witz, Gilf!, Jaye Moon, Kosbe, Love Me, bunny M, Power Revolution, Pure Evil, Rae, and some new stuff in London from guest photographer Geoff Hargadon.
The Brooklyn Artist Talks about Painting, Street Art, and Choking Chickens
You’ve seen his cats and dogs and birds and rats and people in wheat-pasted drawings and paintings on the street in Brooklyn the last couple of years, their big dark eyes staring plaintively at you, usually with some critters holding a banner overhead displaying his tag, QRST.
In a way, these are snapshots of his life, endowed with psychological drama and musings and universal or personal symbologies. Comedians and storytellers are always the most successful when they stick to the regular stuff that we all do and weave in the outlandish – just enough that it’s fantastic but not so much that it’s fantasy. QRST renders his characters without romance but maybe nostalgia, their magnetic eyes drawing you past the still countenance, grounded enough to sort of convince a passerby of their realness, even though they can’t possibly be. These are his relatives, his friends, his loves, his memories melted with meandering.
In addition to his regular job he’s been painting on a heavy schedule lately so he can have his show ready for unveiling this Friday in Bushwick, Brooklyn at The Active Space. A visit to his studio reveals a spare, brightly lit quietly manic room with a laptop playing the Bush Tetras balanced on a stool and a careful collection of the tools of the trade – paint tubes, canvasses stacked on the floor against a wall, a small pile of pencil sketches, an easel with a painting of a chicken beating up a boy.
“Yeah, it’s called ‘Formative Years,’” QRST says as he describes it’s origin, “My aunt and uncle had chickens and a giant rooster and when I was like two or three, one of them just mauled me. So it’s that story … but it’s also a lot about sex in like a generic, formative way. It’s a cockfight… he’s choking a chicken… So it’s kind of like a joke at my own expense because I’m getting my ass beat by a chicken but it’s also about figuring out masturbation and sex hangups and weird sex issues.
Brooklyn Street Art: It’s all “nested” in there. QRST: Yeah, and it’s all inside of a childhood.
If it is a battle, the boy in the painting doesn’t look like he’s going down without a fight. His stuff on the street explores the past plainly, including the painful parts, like his serious re-examination of the influence in his life of his deceased father, called “Patron”, laden with symbols and signifiers. The work can be odd, and oddly sensitive to meaning and nuance as QRST is compelled to continually assess and think his way through the battles of life, peering at it from all angles.
“I think a lot of my work is always autobiographical. It always seems to come from stuff that I’ve experienced or thought about or people or places that I’ve seen, or been in, or things I’ve experienced. I think a lot of it is that. These paintings are not obviously exact. They are little seeds of actual reality that have all this stuff piled around them that comes from my mind wandering. So the stories kind of become fantastical and weird and their own thing but they really do start from a seed of, ‘I was walking down this street and I saw this thing’ – or ‘I was with this guy on the Mississippi River’, or ‘my aunt and uncle have a hummingbird feeder,’” he explains.
Brooklyn Street Art: Aside from studying painting, in a lot of ways I can see that your work is therapeutic for you. QRST: Absolutely. If I’m not painting regularly I go crazy basically. I get all super depressed and mean. And I’ve had people tell me “I can tell when you haven’t been making art because you’re and a**hole.” (laughs) I’m like “Great! Cool.” I’ve had more than one person tell me that. You can tell when I’m not painting enough. I get really distressed. It can be also be drawing but painting seems to be the best.
For QRST the work he makes for the street is the fun stuff, the place where he can experiment and get a little looser. His painting teacher from his youth would have cringed at the idea of painting as being fun. “He yelled a lot but was a good teacher,” he remembers. “He used to yell ‘Painting is not fun! Painting is in the blood!’” On reflection, QRST agrees that painting is something more for him. “There is a certain truth to that. I mean, I need to do it and it’s immensely satisfying in a way that is not parallel to anything else in my life. But it’s not “fun”, ya know?”
It may still be a little perplexing to the average person passing a particle boarded construction site to see one of his elaborately hand painted, wheat-pasted pieces. To think that he’ll spend forty to sixty hours on a street work that ultimately gets destroyed seems self-defeating but he has clearly delineated in his mind what work is meant to have permanence and what needs to stretch it’s legs and go talk to the city.
“The street stuff is really nice. It can get really stressful too but it feels less formal. It’s hard to describe but I can do whatever I want, and it’s just for kicks. I can figure stuff out real easily and put it out and it really doesn’t matter because it’ll be gone soon. It’s like doing studies or sketches or something,” he explains.
Brooklyn Street Art:It’s also maybe a safe way to experiment with an idea or technique? QRST: Yeah, it is. It’s easy to be experimental because with oil paint there’s a way you are supposed to do it. I’ve thought about being more experimental on the canvas but then, it doesn’t feel right, at least not at the moment.
Of the studio work and the street work, he sees separate goals and lives. “They serve different purposes, they go in different places, they are supposed to function differently. Also with the street stuff – at the end of it it comes with the adrenaline rush of doing something very barely illegal,” he smiles.
Brooklyn Street Art: They need to walk out that door. QRST: They do! They want to go outside.
Brooklyn Street Art:That’s something I associate with your work is the symbolism and metaphor, the additional layers of meanings that can go in multiple directions.
QRST: I spend a lot of time – I come up with the idea and its something that is sort of stuck in my head and then I start to flesh it out. As I’m painting it, I end up thinking about it a lot obviously. All of the language and connection to it comes out as I’m working on it. I’m like “oh yeah!”.
In her latest mural, Faring Purth delivers a powerful reflection on connection, continuity, and the complexity of evolving relationships—a true …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
