“Bring To Light” Brings to Life

“Bring To Light” Brings to Life

Brooklyn Does “Nuit Blanche”

Talking with the Producer and One of the Organizers of New York’s First

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Bring To Light Nuit Blanche NYC 2010. Ryan Uzilievski. “Elemental Harmonics” (Photo © Jaime Rojo)

A lady, perhaps in her late 60’s or early 70’s with small wire-rimmed glasses stood on the pavement grinning in front of our flickering video projection time-lapses of Street Artists putting up work. She only turned from the screen once to make sure that her posse was also watching. When the video ended, with shoulders pinch up toward her grey fluffy hair, she clapped her hands quietly in front of her smiling mouth, and went back to the sidewalk to talk to her friends about it. She asked them if they had seen it. They had. A bit of wonder for us, her excitement.

We like to think that all of the artists involved in the first ever Nuit Blanche festival in New York received a similar experience for all of their efforts. As artists, few things make us happier than when we get to see the faces of the public enjoying the art being presented.

In New York there aren’t many venues where both the artists and the public get to mingle and talk directly with each other in an open and unrestricted environment: No VIP rooms, no PR handlers, no spokespeople, no velvet ropes, admission tickets, no one looking down their nose. The organizers of “Bring to Light” made this possible for one glorious night in Greenpoint, Brooklyn. Perhaps 10,000 art lovers got out of their homes to enjoy one evening of free enlightenment without restriction.

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Bring To Life. Nuit Blanche NYC 2010. Claire Scoville “Dancer. Jordan” (Photo © Jaime Rojo)

With a five-hour convulsing light carnival by 60 artists, many of whom are well known for avant garde innovation, “Bring to Light” brought to life this former maritime hub of North Brooklyn that once blustered with lumber yards and rope factories. Now a rusty hopscotch of weathered industrial architecture, burned out lots, and faded hopes, Greenpoint in recent years has bloomed with the lifeblood of artists overflowing from neighboring Williamsburg. Aided by a crisp autumn night and Greenpoint’s Open Studios weekend, where artists open their doors to the public, “Bring To Light” was suddenly pulsating with the feet of thousands of art fans. All manner of projectors blasted on the walls with myriad images, forms, and shapes, some breathtakingly beautiful. Other artists created sculptures and installations that worked as light vessels and amorphous creatures while collaborative dancers entertained groupings of appreciative observers.

The show’s organizer DoTank:Brooklyn, calls itself a public vessel for interdisciplinary exploration, and Nuit Blanche seemed like the perfect showcase for everything these (mostly) urban planners are about. More interested in taking action than talking about it, their collective sense of focused urgency is like a refreshing gale of cool October air.  Since they actually know how to plan and work with local civic and citizen groups, they were able to pull off New York City’s very first Nuit Blanche event in less than 3 months, and on a shoestring budget.

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Bring To Light. Nuit Blanche NYC 2010. Landscape Invention Society. “Sticks And Bones” (Photo © Jaime Rojo)

While DoTank had the initial idea, the Nuit Blanche ball started rolling when festival producer Ethan Vogt got involved to steer the effort in late July. DoTank had experience organizing participator events in public space and Ethan brought his background in film production and a passion for creating cinematic experience outside of traditional venues.

DoTanker Ken Farmer, originally from Memphis, Tennessee usually is riding his bike around the city or  working as a consultant at Project for Public Spaces, a nonprofit planning, design and educational organization.  He likes to ride his bike around the city and scope out cheap places to eat, or “blue collar hollas”, as he calls them.

A Boston born New Yorker since ’02, Ethan Vogt is a filmmaker who makes documentaries for organizations, music videos with found footage, and has produced three feature films with Andrew Bujalski. Now developing a masters thesis about Media in Performance and Architecture at NYU, Vogt hopes to produce Nuit Blanch for at least the next couple years in New York.

Bring to Light. Nuit Blanche NYC 2010 Corinne Odermant "Linger Let Me Linger" (Photo © Jaime Rojo)

Bring to Light. Nuit Blanche NYC 2010 Corinne Odermant “Linger Let Me Linger” (Photo © Jaime Rojo)

Brooklyn Street Art spoke to both guys about the success of their first Nuit Blanche in New York.

 

Brooklyn Street Art: How do you feel about the event, now that you are a few days on the other side of it?

Ken Farmer: We could not be more excited about how things turned out. Great weather, great crowd, great support from the community and a great response from both people who attended as well as those who have seen post-event coverage.

Ethan Vogt: Yeah, we are all just thrilled with how it came together – I’ve heard nothing but positive things from artists, visitors, and Greenpoint residents. I would say it exceeded our expectations and we were just in awe of what we had “organized” and “produced.”

Bring To LIght. Nuit Blanche NYC 2010. Nathanial Lileb and Sarah Nelson Wright "Oculus" (Photo © Jaime Rojo)

Bring To Light. Nuit Blanche NYC 2010. (Photo © Jaime Rojo)

Brooklyn Street Art: How long has this event been in the planning?

Ken Farmer: The idea began in July and planning really began in August. We were on pins and needles until the last minute getting the permits approved due to apprehension about an event with no prior history in NYC. Luckily, some key leaders like Councilman Stephen Levin and Borough President Marty Markowitz really believed in the event and helped us get over the hump.

Brooklyn Street Art: Would you call yourselves artists?

Ken Farmer: I’d say…artist and organizer…maybe that’s a curator?…of public spaces.

Ethan Vogt: Sure, I’d say I’m an artist and creative producer. I actually was going to do a projection project for the festival before I got too busy producing. You can see some of my projections and photography online. I feel like my art-making allows me to be a better producer, I often think about what I would want from a producer if I was the artist and then try to be that kind of producer.

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Bring To Light. Nuit Blanche NYC 2010.  Jacob Abramson (Photo © Jaime Rojo)

Brooklyn Street Art: Who had the idea of launching New York’s first Nuit Blanche, and why did you think it was important to pursue and execute?

Ken Farmer: DoTanker Ted Ulrich organized a similar event in Atlanta and other team members had experienced Nuit Blanche events in other countries. We knew that it provided such a creative transformation of public spaces. Given our interest in short-term interventions to transform the way public space is experienced…we had to try.

Brooklyn Street Art: Can you talk about one of your favorite projections or performances from Saturday night?

Ken Farmer: We had some pretty well known light artists like Chris Jordan and Ryan Uzilevsky, but the thing that amazed me was the way the art, performers and crowd coalesced into a seamless experience. It wasn’t about individuals or feature pieces, it was about the transformed landscape that emerged collectively.  This was our curatorial goal, but the reality far exceeded our expectations.

Ethan Vogt: So many of the pieces were amazing, it is hard to choose.  I loved the percussion performance, “Scaffolding” by Tom Peyton with Terence Caulkins, Eddie Cooper, Lily Faden, Leo Kremer, and Mike Skinner, I also thought that the way that crowds were interacting with “A Small Explosion” by Kant Smith,  “Light & Glass Dance” by Miho Ogai, “Oculus” by Nathaniel Lieb & Sarah Nelson Wright, and “Untitled (Drums, Lights) by Peter Esveld & Philippo Vanucci was remarkable and a very vibrant way of people connecting to artwork that I haven’t seen very many other places in my life.

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Bring To Life. Nuit Blanche NYC 2010. (Photo © Jaime Rojo)

Brooklyn Street Art: What role does public art play in the life of a neighborhood or a city?

Ken Farmer: It should be a manifestation of its surroundings showcasing the local identity. And it should compel us to appreciate our surroundings–aesthetically, whimsically, critically. But it is frustrating how often it falls short.

Ethan Vogt: I’m no expert on this but I think public art should encourage reflection, debate, and connection. New public spaces like the “High Line”  in Chelsea are the kind of thing that I believe embodies this and I would love to someday be involved in producing a project like that.

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Bring To Light. Nuit Blanche NYC 2010.  Jacob Abramson (Photo © Jaime Rojo)

Brooklyn Street Art: We’re always talking about the intersection between Street Art, Urban Art, Public Art, Performance, Projection Art – do you think that there is a growing interest among city dwellers in reclaiming public space for art?

 

Ethan Vogt: Yes, Yes, Yes! – I think this festival really struck a chord and that people looking for an authentic, non-consumer, artistic, participatory, and community experience.

Ken Farmer: I think there is a growing interest in authentic, and interactive public art. We are in a beautiful era of D.I.Y. culture. The big, corporate commissioned public art pieces in lifeless lower Manhattan plazas are old news. People want something more relatable and more dynamic. We are seeing a proliferation of low-cost, pop-up elements in public spaces. Some may see it as art, others as amenity, either way…its terrific.

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Bring To Life. Nuit Blanche NYC 2010. Claire Scoville “Dancer. Jordan” (Photo © Jaime Rojo)

 

Brooklyn Street Art: Were you surprised how difficult it could be to pull this off?

Ken Farmer: The difficulty lies in the need to do everything by the books. We intend to make this an annual tradition that gets better every year. So we dotted the “i’s” and crossed the “t’s”, which was costly, fiscally as well as temporally, but essential to building community support.

Ethan Vogt: It was extremely difficult to get all the pieces together to make this work but the reward of the experience was well worth it and things will certainly be easier next year.

 

Brooklyn Street Art: Do you think most people who see the show have any idea the amount of work that goes into it?

Ethan Vogt: I’m not sure if they have a sense of the work but I don’t care, I’m just glad they came out and had a night to remember. Hopefully they might continue to support us next year.

Ken Farmer: Hopefully they don’t know how much work goes in. I think the biggest barometer of the event’s success was how calm it felt. It was amazing to have that big of a crowd, with that many artists and that much excitement, yet have things seem so orderly.

We are extremely appreciative of how the crowd received the event…Thank You New York!

Bring To Light Nuit Blanche NYC 2010 Ryan Uzilievski. "Elemental Harmonics" (Photo © Jaime Rojo)

Bring To Light Nuit Blanche NYC 2010 Ryan Uzilievski. “Elemental Harmonics” (Photo © Jaime Rojo)

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DoTank:Brooklyn is always looking for new partners. Please contact them at info@dotankbrooklyn.org

“Bring to Light” was organized by: Do Tank: Brooklyn Michael Doherty, Ken Farmer, Aurash Khawarzad, Tom Peyton, and Ted Ullrich

Produced by: Ethan Vogt, Furnace Media

Co-produced by: Pepin Gelardi, Jacquie Jordan, Annie de Mayo, Anna Muessig, Stephen Zacks

Please visit the Bring To Light site and click on their Kick Starter Campaign. They are only a few hundred dollars from reaching their fundraising goal. They need your support!

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Carmichael Gallery Presents:”Bed Bugs” A Solo Exhibition of Works By Bumblebee (Los Angeles, CA)

Carmichael Gallery

Bumblebee. "Sleepwalking Street" Image Courtesy of the gallery
Bumblebee. “Sleepwalking Street” Image Courtesy of the gallery

Carmichael Gallery Presents

Bed Bugs

The first solo exhibition of work by

Bumblebee

at

Beyond Eden

A multi-gallery event celebrating the new contemporary art scene in Los Angeles

October 9 – 10 2010

Opening Reception
Saturday, October 9 2010

6 – 11 PM

Admission is Free / Open to the Public

LA Municipal Art Gallery at Barnsdall Park
4800 Hollywood Blvd
Los Angeles CA 90027
www.lamag.org

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Follow @AnneFrank : Street Art, Twitter and History

Follow @AnneFrank : Street Art, Twitter and History

Think of all the beauty still left around you and be happy. http://4rbyf.th8.us #optimism #hope #beauty

Send.

103 characters and her followers would have had an update of exactly what Anne Frank was thinking. The inner life of this girl, as recorded in her diary, has inspired many an artist, author, movie director, painter, and writer to contemplate their own.

Irish stencil Street Artist Vango has just imagined Anne Frank as she might be today – sending her personal thoughts and observations, status updates. It’s a tricky minefield of human history to tread for an artist and the implications of a wireless data stream available to all are still being assessed by contemporary culture.  As our historical touchstones are viewed through these new screens, sometimes it can be jolting and will raise questions. What parallels exist today, and what has been fundamentally changed by our creation?

Vango "Follow @ Anne Frank" (Photo © Vango)

Vango “Follow @AnneFrank” (Photo © Vango)

Brooklyn Street Art: With this new stencil you have updated an image of Anne Frank using what we are calling “social media”. What inspired you to create this piece?
Vango: Well, I always like merging the past with the present in my work and I especially like painting historic characters using the modern equivalent of their chosen medium. Today everyone ‘s on Twitter or Facebook expressing themselves to the world, which is a positive thing, except 99% of what they say is irrelevant bulls**t. On the flip side, 65 years ago this young girl actually had something to say that was unheard in her lifetime.
BSA
Brooklyn Street Art: Tell us a bit about the Street Art scene in Ireland.
Vango: Obviously Ireland isn’t known for Street Art but there are some talented artists emerging, especially in the last year or two like KARMA, ADW, Canvaz, Maser and of course Conor Harrington.
BSA
Brooklyn Street Art: Who would you cite as an inspiration as an artist?
Vango: As a stencil artist it’s hard not to mention Banksy. Lots of stencil artists are reluctant to admit that Banksy had an influence on them at the risk of sounding like stale copy cats. That’s understandable but I’d rather be honest and admit that Banksy had a major role in my decision to pick up a can. The guy makes it look so easy again  and again and the least he deserves is homage from newbie stencil artists.
BSA
Brooklyn Street Art: Why do you think Street Art is important and relevant in today’s art world?
Vango: It’s there for everyone to see, like it or not. It demands to be noticed and as you can tell it’s succeeding. You can be on a train, walking to work or driving home and see art that’s just as thought provoking as art you have to go out of your way to find. I think that ‘s important because nobody seems to have time anymore. If you have a job and a favorite TV show, your day is spent.
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Veng Gives Us a Tease Of Upcoming Solo Show

Veng from Robots Will Kill is working hard in his studio here to prepare for his first solo show at Pandemic Gallery in December.  Here’s a taste of some of the work he’s preparing, featuring his character and a cool illuminated hat!

Brooklyn-Street-Art-veng solo show detail

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Anonymous Gallery Presents: “Stickers: From Punk Rock to Contemporary Art” Book Launch (New York City, NY)

Anonymous Gallery
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DB Burkeman, Monica LoCascio,
Anonymous Gallery & Rizzoli
invite you to a reception celebrating the release of the book
STICKERS: From Punk Rock to Contemporary Art

The authors and several featured artists will be in attendance.
Books will be available for purchase and signing

with DJ Jasmine Solano, DJ Mondee,
DJ Teddy King, DJ DB (Old Skool Set), Ron Morelli (L.I.E.S.),
Marcos Cabral (Runaway & On the Prowl),
& DJ Brennan Green (China Town)
Hosted by Boundless NY

Thursday, Oct. 7, 9pm

Le Poisson Rouge
158 Bleecker Street
.
New York, NY 10011
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Joshua Liner Gallery Presents: El Mac ‘The Humble and Sublime’ And Damon Soule ‘Tessellating Pigments.’ (New York City, NY)

Joshua Liner Gallery
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We are very pleased to announce our upcoming exhibitions; El Mac ‘The Humble and Sublime’ and Damon Soule ‘Tessellating Pigments.’ This will be Mac’s first solo exhibition with the gallery as well as his first solo exhibit in NYC. This will be Soule’s second solo exhibition with the gallery. The opening reception is Thursday, October 14th from 6 – 9 pm, both artists will be in attendance.

Joshua Liner Gallery
548 W 28th St. 3rd Floor
New York, New York 10001
212-244-7415
joshualinergallery.com

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Willem Kerseboom Gallery Presents: Op Straat A Group Show Featuring Mear One, Retna and Kofie (Amsterdam, The Netherlands)

Willem Kerseboom Gallery

Kofie "Official Premium)

Kofie "Official Premium)

Mear One "David and Goliath"

Mear One "David and Goliath"

Retna "Fence"

Retna "Fence"

Amsterdam – Willem Kerseboom Gallery, in collaboration with the L.A. ART MACHINE, is proud to announce the opening of OP STRAAT, an exhibition of original artwork by legendary Los Angeles street artists, MEAR ONE, RETNA, and KOFIE.

This landmark exhibition marks the first time that these celebrated contemporary artists have exhibited together in Holland, bringing the unique and diverse visual language of California street art to Northern Europe.

Since the rise of urban art in the U.S. in the 1970’s, California artists have been at the vanguard of a new visual language that both defines and describes the contemporary urban experience and the environs of the West Coast metropolis.

All self-taught, these three artists elevate the subversive arts from the streets to established fine art venues, further challenging gallery and museum paradigms and establishing a new artistic vocabulary that is fresh, compelling, and unpredictable.

Op Straat, opens at Willem Kerseboom Gallery on October 16, 2010 and runs through November 13, 2010. Please join us for this exciting moment in contemporary art history.

Includes a special viewing of the monumental murals created during the Vox Humana live art installation at VOLTA 6 in Basel 2010, as featured on the Huffington Post, Juxtapoz, and Arrested Motion.

Opening: October 16, 2010 4-6 PM.

Location:
Willem Kerseboom Gallery
Leidsegracht 38-40 1016 CM
Amsterdam, Netherlands

RSVP: info@kerseboom.com

Contact:
info@kerseboom.com
T +31 (0)6 53512379
www.kerseboom.com

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Galeria Cosmo Presents: Rodrigo Villas “Volando Vengo, Volando Voy” (Barcelona, Spain)

Rodrigo Villas
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Volando vengo volando voy – Exposición de Rodrigo Villas en a galería Cosmo del 16 de Octubre al 12 de Noviembre

Rodrigo Villas es de Rio de Janeiro y vive desde hace 4 años en Barcelona, un tiempo durante el cual ha profundizado en su trabajo con grafitti e ilustración y, en la búsqueda de territorios comunes se encuentra la obra de esta exposición.
En la presentación de sus personajes hay un trabajo de múltiples materiales, escalas y formatos; desde la madera hasta la tela con preferencia por los botes de spray acrílico.
Un trabajo también con formas limpias, sin aristas, con piezas que unas veces componen puzles donde prima la geometría y el color y otras se reconvierten en nuevos personajes.
La mayoría son personajes que se abstraen de su entorno, no hay casi nunca un escenario y si lo hay, tiene mucho de ensoñación y de juego. Imágenes recurrentes son las nubes recortadas, los barcos y la presencia de los pájaros, esos Love Birds que vienen del trabajo en la calle y que encontramos como piezas individuales y también como bandadas de pájaros multiplicadas hasta el infinito.
Un conjunto de trabajos con un lenguaje propio, con sentido del humor y que reflejan en su conjunto algo parecido a la letra de la canción de la que tomó prestado el título: “enamorado de la vida aunque a veces duela”.

Galeria Cosmo – Calle Enric Granados, 3 – 08007 Barcelona – www.galeriacosmo.com
93 453 70 07

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Stencils Of The Week 10.05.10

Stencil-Top-5

As chosen by Samantha Longhi of Stencil History X

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Evol at Galerie Bodson-Emelinckx. Installation View /Main Room (Photo © Evol)

Grobkonzept. Boardstock 2010. (Photo © Grobkonzept)

Grobkonzept. Boardstock 2010. (Photo © Grobkonzept)

Zibe Tso “Jump in my car” ( Photo © Zibe Tso)

M-City View of the exhibition “Urban Jungle” ( Photo © SHX)

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Chris Stain Outdoor stencil mural Dumbo, NYC (Photo © Lois Stavsky)

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Stencil History X

See more EVOL here

For more Grobkonzept go here

For more Zibe Tso

Galerie Itinerrance

M-City

Chris Stain

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

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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.

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

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.

brooklyn-street-art-TASJ-Nina-Pandolfo-Covers-Elisa-Carmichael

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.

brooklyn-street-art-TASJ-Mark-Jenkins-Covers-Elisa-Carmichael

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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Images of the Week 10.03.10

Images of the Week 10.03.10

Brooklyn-Street-Art-IMAGES-OF-THE-WEEK_05-2010

Our weekly interview with the street; this week featuring Cake, Company, Cozy, Deform Industry, Hugh Leeman, Muffin Man CCB, and a knitted padlock cozy.

We begin this week with three new pieces from Cake:

Continuing her residency at The Fountainhead in conjunction with Primary Flight in Miami, Cake has been introducing marked and subtle changes to her work recently.

About these life-sized characters Cake says, “I have gone into finer detail with the anatomical overtones- highlighting one aspect of the skeletal structure instead of several and honing in on it. My colors are a result of many layers of washes and yes, I am partial to blue shades right now for some reason- I think its because it goes nice with the fluorescent pink fingertips each of these figures have.”

Photo © Cake

Photo © Cake

brooklyn-street-art-cake-3-miami-primary-flight-10-10-web

Photo © Cake

Photo © Cake

Company Photo © Jaime Rojo

This round headed businessman is popping up in different colors in BK recently. The name: Company.  Photo © Jaime Rojo

Still Life with tulips Photo © Jaime Rojo

Still life with tulips.  Photo © Jaime Rojo

Humminbird. This artist's contextual use of the wall in his/her installation with colored duct tape is spot on! Photo © Jaime Rojo
Hummingbird. The contextual use of the wall with colored duct tape is spot on!  Photo © Jaime Rojo

Still Life wtih Lilly Photo © Jaime Rojo
Lilly.  Photo © Jaime Rojo

Deform Industry pays homage to ISaw the popular street food in The Philippines In Cebu City, Philippines. Photo © Deform Industry

Street Meat! Deform Industry pays homage to ISaw, the popular street treat made of chicken intestines in Cebu City, Philippines. Photo © Deform Industry

Padlock Cozy Photo © Jaime Rojo

Sometimes in the winter, a padlock can get quite cold, even frozen.  Not anymore! Introducing the Padlock Cozy.  Photo © Jaime Rojo

Hugh Leeman's installation of MLK in Indianapolis. Photo © Hugh Leeman

Hugh Leeman’s installation of a jazz musician named Blue on the street in Indianapolis. Photo © Hugh Leeman

The Muffin Man Photo © Jaime Rojo

The Muffin Man CCB is using only the finest sifted flour for his wheat paste.  Photo.  © Jaime Rojo

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