In a striking decision that appears to favor the protection of graffiti and Street Artists works in the public space, the 5Pointz case came to a close this week with a ruling that punishes the owner/developer of the compound in Long Island City for acting “willfully” and out of spite toward the artists whose work had transformed his dilapidated property into a world-known holy place for exhibition of the art forms there.
“The legacy of 5 Pointz we hope is that this elevated art form is now valued and recognized in a court of law as art no less no more,” says Meres One in a statement with Marie Cecile Clageul co-founder of 5 Pointz Creates and the creator of Museum of Street Art (MoSA) on the Bowery.
“The other legacy is how this art form is now respected and it
has been humbling to see in recent years how real estate entities want to
collaborate with artists and understand the need for preservation…
“On a personal level, this is a validation that as difficult as these past 7 years have been, standing up was the right thing to do and justice prevailed.”
Many see the new ruling by a federal judge in the Second Circuit as a vindication of the Visual Artists Rights Act of 1990 (VARA), which grants specific rights to artists to control the use of their work, even if it is on someone else’s property. In the case of 5Pointz, it was not the act of destroying the art that eventually cost the wealthy developer a large fine of nearly seven million dollars, it was the manner in which it was done in defiance of the court proceedings and against the proscribed actions called for in the VARA.
Central to the events that were examined was the sloppy whitewashing of the compound under cover of night while legal proceedings to prevent the demolition of the property were underway – a poker game move that has ultimately cost the developer Wolkoff far more than the cheap paint his workers used for buffing.
Cautious observers say that the ruling is narrowly focused on the behaviors of this actor, rather than a carte blanche endorsement of illegal graffiti that protects it from being destroyed by property owners. “If he did not destroy 5Pointz until he received his permits and demolished it 10 months later, the Court would not have found that he had acted willfully,” said Judge Block in his original ruling.
As ever with an art form that muddies the waters of law and opinion, Street Art and graffiti’s countervailing winds are blowing a new direction in the city as a resurgence of illegal whole-car graffiti again is being seen by NYC train riders. With increased rhetorical anger from the MTA and newly beefed-up anti-graffiti resources targeting the illegal stuff, those winds are souring a cultural détente that has existed in the everyday person’s assessment of the relative value and contributions these artists make to our cityscapes.
Jesse Cory, co-owner and director with Roula David of Detroit based Inner State Gallery and the annual Murals on the Market festival, has worked with hundreds of artists in these related genres for two decades or so. With Mercedes’ muscular defense of its right to use whatever art they find on the street as fair game to sell a product, many in Detroit say they have seen the shift of interest by private business toward Street Art and murals go from curious to passionate to predatory.
“This ruling to uphold the settlement and compensation to 5 Pointz artists affirm that judges consider (VARA) Visual Artists Rights Act statue as law and that the artists do control the right to their mark even if it’s on a property that they do not own,” says Cory.
“While this case of Mercedes Benz preemptively suing artists to make a claim that the artist does not have any rights in the usage of their art in corporate advertising is much different from the 5 Pointz legal dispute the fact that judges are ruling in the artists favor is a positive sign.”
For the moment, many artists and fans are celebrating a ruling that will undoubtedly be cited in future cases – a ruling that gives added credibility and cultural currency to the valuable contributions that graffiti, Street Art and many other forms of Urban Art have made to our cities and our culture.
BSA has been here with you for this entire decade – an honor and a privilege. Reviewing the many interventions and events we witnessed and shared with our readers, we realize that this grassroots people’s art movement is reflecting our society in fundamental ways and reaching deep as well as wide. Here in roughly chronological order we recount for you a Top 10 for BSA that have impacted our way of seeing art on the streets.
1.
The “Girl In The Blue Bra” – December 2011
Oppressive regimes worldwide have a few
commonalities. One of them is patriarchy. Over the last decade we have seen
many female artists rise powerfully to smash it, harnessing their rage and
power and taking their voice to the street.
There were countless images that encapsulated the ferocity and the tenacity of the protesters during the Arab Spring uprisings in Cairo, Egypt in December of 2011. One image, in particular, captured the attention of the media and the public. The image is commonly referred to as the “Girl In The Blue Bra”. The image depicts a young woman, whose identity remains anonymous, being beaten and dragged by soldiers as she was taking part in the protests in Tahrir Square in Cairo, against Egypt’s Supreme Council of the Armed Forces. Her face is veiled and her jeans are still on but as she was being dragged by the soldiers her abaya came undone exposing her bare torso and revealing her blue bra as a soldier was about to kick her in her abdomen.
A young woman is being dragged and kicked, exposing her bare torso in the act by the military in Tahiri Square. Cairo, Egypt. December 17, 2011. (Stringer/Reuters/Landov)
While the image exposed the abusive practices and of power of the military in Egypt – it also swiftly sparked ferocious reactions around the globe, particularly with women who subsequently staged their own march in Tahrir Square in Cairo to demand the end of military rule.
Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)
Among the artists who carried the Blue Bra theme to the streets was one artist, Bahia Shehab, whom BSA and its readers helped to get a movie made about Street Artists in the Arab Spring, called Nefertiti’s Daughters, directed by Mark Nicolas. Later we were the first to debut a scene from it at the Nuart Festival in Norway (“#Activism on the Street Now”), and years after that Nuart actually hosted professor Shehab. This is a small world, this Street Art community.
The actions of the young woman, the
violent response of the military, and the overwhelming support of the public,
in general, sparked a new wave of feminism in Egypt and inspired artists to
create and display their artworks on the streets in protest.
Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)An unidentified artist in Cairo. (photo from Pinterest)
2.
“Art In The Streets” Opens at LA MOCA – April 2011
Art in the Streets was the first major U.S. museum survey of graffiti and street art, curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, an exhibition tracing the development of graffiti and street art from the 1970s to the global movement it had evolved to. BSA was there to capture and share some of what was happening.
“Yes, Banksy is here. The giant ‘Art in the Streets’ show opening this weekend at the Museum of Contemporary Art in Los Angeles gives a patch of real estate to the international man of mystery who has contributed greatly to the worldwide profile of what is soon to be, maybe already is, a mainstream phenomenon known as street art. A smattering of his pranksterism is an absolute must for any show staking claim to the mantle of comprehensive survey and an excellent way to garner attention. But “Streets” gets its momentum by presenting a multi-torch colorful and explosive people’s history that began way before Banksy was born and likely will continue for a while after.
The show is an audacious multi-platform, colorful endeavor; part history lesson and part theme park bringing about 50 years of graffiti and street art history, it’s influences and influencers, under one roof. Then there is the stuff outside. Engaging and educational, “Art in the Streets” makes sure visitors have the opportunity to learn how certain tributaries lead to this one river of swirling urban goo, mapping connections between cultural movements, communities, and relationships within it. When it does this, the museum system effectively differentiates its value apart from a mere gallery show. “
Banksy’s NYC Residency – “Better Out Than In” – October 2013
An unprecedented city-wide near daily installation of works in New York established a new high-water mark in the flood of Street Art that took many cities in the 2010s. The British Street Artist played to a media capital in such an effective campaign that even the least interested residents became familiar with the elusive prankster.
A Genuine October Surprise for New York Street Art Friends and Foes Alike.
“In a series of communiqués beamed from his website, the global Street Artist Banksy gave graffiti and Street Art followers a near-daily jolt of mystery and mouse clicking that had people looking at every street scene as a possible Banksy by the time it ended. While few can confirm the exact level of involvement the actual artist had in the five boroughs, if any, none will deny that the Banksy brand underwent a major “refresh” this month that again put his name on the lips of those who had begun to forget him and many who had never heard of him.
Thanks to this masterful marketing campaign billed as a month-long ‘residency’ on New York’s streets, many thousands were talking about him daily on the street, on television, radio, social media, in galleries, studios, office cubicles, art parties, and the mayors’ office. By effectively combining the sport of treasure hunting with humor and populism, each new cryptic appearance of something-anything gradually conditioned some grand art doyennes and the plainer mongrels amongst us to drool on command and lift a leg in salute to the curiously still anonymous artist and the team who helped him pull it off.”
The Brooklyn Museum’s Exhibitions with Swoon, Faile, BÄST, Haring, Basquiat, ESPO, JR Expand Knowledge, Appreciation
One cultural institution in New York City and indeed in the United States has been notable throughout the decade for its commitment to organizing exhibitions where graffiti, street art, and the artists whom have shaped it are given recognition for their contribution to the arts. The Brooklyn Museum’s leadership, including former director Arnold L. Lehman, current director Anne Pasternak, and Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives have been channeling resources and focus to the study, promotion, and exhibition of the works of important figures in the contemporary graffiti and Street Art movement. It notable that the museum has in its permanent collection the works of distinguished graffiti and Street Artists dating back to the dawn of the modern scene; something that other important cultural institutions in New York City that are dedicated to the preservation and promotion of modern, contemporary, and American art lack in their collections.
It’s for this reason that we
have selected the Brooklyn Museum as one of the top ten graffiti and street art
movers of the decade. Predated by 2006’s “Graffiti” exhibition the museum has
mounted several important presentations during this decade that have not only
been blockbusters but they have contributed to the cultural enrichment of all
New Yorkers and the expanded discussion of the relevance of these art forms to
established canons. Here are some highlights:
“Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.
… At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.”
“Sharon brought me in here and said, ‘What is interesting to you in the building?’ and I really love that because the thing about working on the street is that you are always thinking site-specifically. And so that thinking has to translate into your work in all places. For me, if I make something in a museum I want it to be very site-specific and this is probably one of the most site-specific pieces I’ve ever done,” explains Swoon.
Under the advice and guidance of an engineer, the artist also modified her design process to allow for foundational considerations like truss sections and lift points. “I showed him an initial model and he showed me an engineered system and then I built another model based on the system that he engineered.”
It is probably unusual for a grand museum to be so amenable to the requests of an artist for a site-specific piece that literally inhabits the furthest reaches of space, and Swoon says she recognizes the leeway she received. “You know, they have been really adventurous in letting us create this. We’ve been sort of pushing a lot with the creation of this piece.”
For Matt Atkins, the opportunity to bring an internationally known street artist and neighbor into the museum has been the result of just over two years of planning. ‘It’s been so wonderful working with Swoon to realize her vision for this project. This is the first time we’ve really used the full height of the 72-foot dome, so it’s quite spectacular. I am thrilled to see her boats back in New York and for them to have this new life. The underlying ideas about climate change in the installation also make this project an appropriate tie into the Museum’s focus on activism with our other exhibitions and collections,’ she says.”
“In Basquiat: The Unknown Notebooks, now running at The Brooklyn Museum until August 23rd, the genius of his fragmenting logic is revealed as a direct relationship between his private journals and his prolific and personally published aerosol missives on the streets of Manhattan’s Soho and Lower East Side neighborhoods in the late 1970s and 1980s.
These notebooks were for capturing ideas and concepts, preparing them, transmuting them, revising them, pounding them into refrains. In the same way his text (and glyphic) pieces on the street were not necessarily finished products each time; imparted on the run and often in haste, these unpolished missives didn’t require such preciousness.”
“FAILE may be a religious experience this summer at the Brooklyn Museum, but only one of the hallowed installations is called Temple. The seedier, more dimly lit venue will surely have the larger number of congregants by far, bless their sacred hearts.
Celebrating the duality and appropriation of words, slogans, and images have been the bailiwick of the duo since they first began hitting Brooklyn streets at the turn of the century with their stencils and wheat-pastes on illegal spots and neglected spaces. In FAILE: Savage/Sacred Young Minds, their new attention-commanding/refracting exhibit organized by Sharon Matt Atkins at the Brooklyn Museum, these guys pour it on, compelling you into a complex panoply of possible re-imaginings of meaning that reference pop, pulp, myth, art history, 50s sci-fi, 60s advertising, comics, punk zines, consumer culture and their own pure artistic and branded fiction.”
Stephen Powers: Coney Island Is Still Dreamland (To A Seagull) is one of 3 new exhibits inspired by the historic attractions of Brooklyn’s seaside.
“Graffiti artist-turned-sign painter Stephen Powers is dreaming of Coney Island and he is bringing a colorful collection of found and freshly produced signage that evokes a forgotten era to climb the columns of a Brooklyn Museum gallery.
Given the boisterous parade of brands and logos into museums that is happening as part of the institutional funding and programming mix, it’s fun to see the ninth episodic installation of this traveling ICY SIGNS shop here; its simplicity and guile recalling amusing persuasive techniques from the mid-century American advertising lexicon. Simultaneously, for those who have been lucky enough to sicken themselves on cotton candy and The Wonder Wheel, the new show imparts a rather reassuring and seedy nostalgia for Coney Island, complete with an inexplicable hankering for a thick beef hot dog.”
“A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.
Brooklyn Street Art: JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects? Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby or business owners and workers of local stores. “
Curated by Christian Omodeo, Luca Cinacabilla, and Sean Corcoran. March 2016
BLU buffing his own works in Bologna took the news cycle, his legion of compatriots armed with rollers and bucket paint. But it was the show that he was reacting to that brought thousands to the museum space to discuss the rightful place of Street Art, graffiti, and the relevance of preserving it for posterity.
“The contested Banksy and Co. exhibition contains, among many other works, walls removed from a privately owned abandoned building in Bologna that were painted by BLU. Displaying the walls and his artwork without his consent so angered the painter that he rallied artists and activists to help him snuff out all his remaining murals and paintings in this Northern Italian city last week. (See A BLU Buffer Talks About the Grey Action in Bologna)
The heavily attended Friday night opening of Street Art – Banksy & Co. at Palazzo Pepoli – Museo della Storia di Bologna was curated by Luca Ciancabilla, Christian Omodeo, and Sean Corcoran and features roughly 250 historical and contemporary works spanning about fifty years and highlighting a number of movements within the so-called Urban Art genre. On balance it appears that 90 percent of the works are studio works, paintings, sculpture, videos, original sketches, and ephermera and were probably collected in a more conventional way and the tagged posters, stickers, metal doors, and wall fragments are viewed in the context of the whole scene.”
“Reality TV is usually completely devoid of reality. That isn’t the exact comparison Andreco said on his Facebook page but we thought it was a fitting analogy. Street Art in a museum or gallery can sometimes feel like taxidermy.
Andreco actually said ‘Deciding which wall to paint or not to paint has always been one of our free choices. This operation, to uncork the walls and move them elsewhere, oversteps this freedom.’ Fair enough.
Of course, that is not the primary reason why activists and Street Artists joined in to help BLU paint over the many murals that he completed on Bologna city walls over the last two decades or so. In an English titled press release on the Italian website Wumingfoundation the artist lays out a multi-layered justification for destroying his own murals, many of which have become beloved landmarks around the city and which have helped make him an art star in some circles.”
American conceptual, activist and street artist John Fekner, whose art and his art partner Don Leicht were represented in the exhibition Street Art: Bansky & Co weighs in the controversy by saying:
The bottom line is: what’s done in public-doesn’t remain in public. There’s no protection for artists who trespass. It’s the chance one takes outdoors.
If you create illegal art murals, street rules are always in effect:
You can’t stop a drunk in the middle of the night from pissing on your wall.
You can’t stop a bulldozer from razing your work.
You can’t stop a neighborhood anti-graffiti squad from painting over your work.
You can’t stop a well-dressed thief in a suit, or their hired slug with a chisel from removing your wall work and hauling it off to their laird, garage, museum or art market.
“Under any circumstances, don’t immediately and irrationally react. If your original aspirations were to be an artist- then just do what you were meant to do: be an artist. Don’t double shift and be a night watchman patrolling the streets to try and thwart thieves of your work. Unique temporary outdoor creations engender a public conversation that includes everyone: art lovers and art haters, lowbrow and highbrow, and everyone who interacts with your public work.”
Urban Nation Museum for Urban Contemporary Art Opens in Berlin – September 2017
We had the unique perspective of being two of the foundational curators who made this exhibition happen and made the doors fly open to thousands of visitors, so it only made sense that we covered the opening that brought much promise to the institutional recognition of Street Art, graffiti, and its move into Urban Contemporary.
“This week is Art Week in Berlin, and you just stole Art Week,” said a handsome and intensely opinionated German to us as we leaned on the arm rail of the M.C. Escher-inspired walkway before a Carlos Mare139 sculpture and above the capacity crowd on Saturday night at the Urban Nation Museum of Urban Contemporary Art (UN).
Not sure if that was the exact goal, but we get his larger point; the UN has just made a massive entry into a number of societally and culturally influential minds when it comes to the relevancy of Street Art and graffiti to visual culture and art history. This movement into so-called Contemporary began as early as the 1970s and has overcome and weathered cultural and market ebbs and flows – persisted, if you will – yet somehow institutions have been wary of this work and these artists and unable to fully embrace their importance, you decide why.”
“In a ruling that many graffiti and Street Artists interpret as a validation of their artwork and which may spawn further legal claims by artists in the future, Brooklyn Judge Frederic Block, a United States Federal Judge for the Eastern District of New York, awarded $6.7 million in damages to a group of 21 artists in the high profile case of the former graffiti holy place in Queens called 5 Pointz.
Under the leadership of artist and organizer Jonathan “Meres One” Cohen, also a plaintiff, the award is in response to a suit that cried foul on the overnight destruction of multiple artworks on building walls without consultation or notification of the artists.
Citing provisions of the 1990 Visual Artists Rights Act that grants artists certain “moral” rights, the artists claimed that their artworks on the 5 Pointz compound that was owned by real estate developer Jerry Wykoff were protected and should be afforded certain rights and considerations.
Arts and intellectual property lawyers and judges will now be examining the implications of the ruling and citing it as an example in arguments about art created on walls legally and possibly those created illegally as well. In a city that prides itself as being a birthplace of graffiti and Street Art, many artists and wall owners must ask themselves if there will need to be an additional layer of the agreement before an aerosol can is held aloft.”
The New York Times Publishes DONDI’S Obituary – February 2019
In an unprecedented posthumous publication of an obituary, this year The Times acknowledged something that it had so far failed to do; the contribution of graffiti writers to the cultural and art canons deserves serious recognition. By publishing the iconic image of DONDI taken by Martha Cooper that burned “Subway Art” into the mind’s eye of many generations of graffiti writers, the “paper of record” caught up with one the the scene’s leaders and heroes.
Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)
Donald Joseph White, considered a legend before “street art” became popular, turned New York City’s subways into rolling canvases of color, humor and social commentary.”
Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)
9.
Martha Cooper: A Picture Story Premieres at TriBeCa. A film by Selina Miles. April 2019
“First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:
Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.
The electricity was in the air as Director Miles and producer Daniel Joyce along with the just-arrived Australian members of the “Martha” crew looked for their seats in the Village East Cinema. After a brief introduction by Miles, who told the audience that the film had been a great pleasure to make, the curtain went up to reveal the mother of the superstar art twins Os Gemeos on the big screen. She is sitting at her kitchen table in São Paulo remarking how her boys used to draw on everything, including fruit, and how Cooper and Chalfant’s 1984 book “Subway Art” changed their lives forever. With their story as a backbone for the film, the theme of personal transformation is repeated in a hundred large and small ways for the next hour and twenty minutes. “
Street Art and Activism Takes Larger Share of the Cultural Stage
This
decade that is coming to an end has seen its share of natural disasters, human
rights violations, atrocities of large scale against humanity, corruption at
the highest levels, the reversal of hard-fought policies to protect the planet
and keep our air and water clean. We have witnessed with despair the
renaissance of hatred based on people’s nationalities, their skin color, their
religion, their choice of attire, their level of material affluence and their
sexual preferences.
We
have seen progress as well. Women around the world have been freer to speak
their mind against oppression and abuse of power thanks to social movements
that have flourished around the world in big cities and small towns. Our LGBT
brothers and sisters have scored numerous legal battles in their favor thanks
to enlightened lawmakers and judges who have searched deep inside their
intellect to find the right answer to make sure everybody is treated equally.
Likewise, our peers whom we need to advance our cause have taken seriously the
responsibility at the ballot box to make the correct choice with policies that
will bring relief to those who have less than we do.
Art
and artists have often reflected back to us the world we live in, it is for
this reason that we have chosen Street Art and Activism as an important action
in this decade. We have always championed the work of artists who imbued their
art with a strong sense of social urgency. It is with their art that they talk
to us in the hopes to change one mind, one action, one concept, one attitude
towards the goal creating a common good. There are many of them currently
active on the streets. This wouldn’t be the appropriate space to list all of
them but we would like to give you some highlights:
“This past Sunday, February 17 at La Plaza de las Tres Chimeneas (Three Smokestacks Square) in Barcelona an international group of artists participated in the first ‘No Borders Festival.’
NO BORDERS is a grassroots organization that was created to raise awareness about the refugees, to demand their acceptance, and to raise funds through debates, art, and documentaries.
They say they want to raise the uncomfortable questions – which will undoubtedly lead to uncomfortable answers as well. To paraphrase the text on their website:
‘Do we settle for a society that violates its moral and legal obligations to refugees? A refugee is a person who flees – Flees because he is on the losing side. Because he thinks, feels or prays differently than those who point him with their weapons.’
As usual, artists are bringing these matters to the street for the vox populi to debate.”
An Art, Science and Climate Action project by Andreco
“And the statement isn’t hyperbole, according to AIR-Ink, the company that made his ink, which is “the first ink made entirely out of air pollution,” they explain on their website.
The unique art-making material is part of the Italian Street Artist / Activist’s most recent installment of his Climate Art Project, which he orchestrated on the streets here in New Delhi for the St+Art Festival this year. Part of a global, multi-city installation and demonstration, ‘Climate 05 – Reclaiming Air and Water’.”
Andreco. Climate Art Project. In collaboration with St+ART India Foundation. Delhi, India. March 2019. (photo Akshat Nauriyal)
” ‘Actions Speak Louder Than Ass Ads,’ says a new stencil-style printed poster by New York’s epic, if sometimes cryptic, street commentator of four decades, John Fekner. Anyway, who will argue with that?
“Post-posters is a cooperative proposition about
public billposting,” says French conceptual street anarchist
Matthew Tremblin about his new project with hit-and-run situationist street
posterer Antonio Gallego. Together they reclaim space
with individually produced posters and they invite artists from around the
world to do the same.
Over a two month period the creative place-makers are facilitating an international crew of artists to post posters on the occasion of the double exhibition by Banlieue-Banlieue group* (°1982, Poissy) taking place in Strasbourg, at both AEDAEN and the Syndicat Potentiel. “
John Fekner . Carole Douillard. Post-Posters Project. Strasbourg, France. April 2019. (photo courtesy of Syndicat Potentiel)
“By putting these images of people of color, women, LGBTQ+ folks on the street with their blunt-force sentiments addressed to would-be harassers, she not only stands with them, but Tatyana has also used her work and vision to give them the courage to stand proud, assert their voice and to take public space.
After all, it belongs to the public.
“Women are not outside for your entertainment”, a startling
truth for some guys that pointedly highlights abusive behavior toward women on
the streets of Brooklyn and many cities around the world. Brooklyn Street
Artist Tatyana Fazlalizadeh has been targeting daily oppressive experiences of
marginalized people with her campaigns of art on the streets – and in the
gallery.
Addressing themes of social justice, racism, LGBTQ+ rights, and sexist street harassment, her beautifully drawn campaigns on wheat-pasted posters and painted murals across the globe have brought attention to issues sorely in need of addressing during hostile rhetoric from some men in the highest offices.”
“This spill and these events did not happen in San Diego or Palm Beach. The story doesn’t affect wealthy white families and cannot be used to sell shampoo or real estate. That’s probably why we don’t see it in the press and never on the talking-head news. Street Artist Jetsonorama is not only a photographer who has been wheat-pasting his stunning images of people and nature on desert buildings for over a decade, he is also a doctor on the Navajo reservation, a human-rights activist, and an erudite scholar of American history as it pertains to the poisoning of this land and these people. Today we’re pleased to bring you this long-form examination from Jetsonorama’s perspective on a complicated and tragic US story of environmental poisoning and blight that affects generations of native peoples, miners, military personnel, and everyday people – and has no end in sight.
Most alarming is the news the current White House administration is endeavoring to mine uranium here again.
‘Private companies hired thousands of Navajo men to work the uranium mines and disregarded recommendations to protect miners and mill workers. In 1950 the U.S. Public Health Service began a human testing experiment on Navajo miners without their informed consent during the federal government’s study of the long-term health effects from radiation poisoning. This study followed the same violation of human rights protocol as the US Public Health Service study on the long-term effects of syphilis on humans by experimenting on non-consenting African American men in what is known as the Tuskegee Syphilis Experiment from 1932 – 1972.’ ~ Jetsonorama”
“As part of our core commitment as a non-commercial platform that has helped hundreds of artists over the last decade+, BSA significantly helped Escif to raise money for his Indiegogo fundraiser in Spring 2017 when we promoted his “Breath-Time” horticultural project heavily as he planted trees to reforest Mount Olivella in Southern Italy.
Today BSA debuts REWILD, a new
tree-related project by the Spanish Street Artists – just as the Global Climate
March is spreading to cities around the world, including New York.
The concept of the short film is
simple: can’t we just push the “Rewind” button?
‘The narrative runs in reverse, rewinding the clock on deforestation to undo the damage caused by the unsustainable production of one of the world’s most versatile commodities. Beyond the industrialisation of the land, we end at the beginning, a thriving ecosystem alive with wildlife. The concept mirrors the real world action of the Sumatran Orangutan Society and their partners in reclaiming land on the borders of the Leuser rainforests to rewild them with indigenous trees, expanding the boundaries of one of the most biodiverse places on earth.’
Finally, a stunning custom soundtrack by Indonesian composer Nursalim
Yadi Anugerah captures and carries this into another world, which is
possible.
In a ruling that many graffiti and Street Artists interpret as a validation of their artwork and which may spawn further legal claims by artists in the future, Brooklyn Judge Frederic Block, a United States Federal Judge for the Eastern District of New York, awarded $6.7 million in damages to a group of 21 artists in the high profile case of the former graffiti holy place in Queens called 5 Pointz.
Under the leadership of artist and organizer Jonathan “Meres One” Cohen, also a plantiff, the award is in response to a suit that cried foul on the overnight destruction of multiple artworks on building walls without consultation or notification of the artists.
Citing provisions of the 1990 Visual Artists Rights Act that grants artists certain “moral” rights, the artists claimed that their artworks on the 5 Pointz compound that was owned by real estate developer Jerry Wykoff were protected and should be afforded certain rights and considerations.
Arts and intellectual property lawyers and judges will now be examining the implications of the ruling and citing it as an example in arguments about art created on walls legally and possibly those created illegally as well. In a city that prides itself as being a birthplace of graffiti and Street Art, many artists and wall owners must ask themselves if there will need to be an additional layer of agreement before an aerosol can is held aloft.
For today the plaintiffs will celebrate the win and derive a sense of validation for their works at the compound that hosted an organic evolution of works by local, national, and international graffiti and Street Artist for nearly two decades under tacit or explicit agreement with the owner.
“I am happy to see my art form recognized as true art,” says Mr. Cohen in an article from Hyperallergic today, and ultimately that is the message that the graffiti writers and Street Artists will take from the story. Others will argue that this is gentrification issue of developers profiting from and then dismissing the artists who bring attractive buyers to a neighborhood. Now that a dollar value has been attached, a certain audience will also begin to again consider the intrinsic value of those artworks in the streets that they dismissed as pure vandalism with little other merit.
Of the nearly 1,000 comments posted yesterday on our initial Facebook post about the decision, it is evident that many people still see this kind of art primarily as illegal vandalism and opine that a ruling like this is only adding credibility to criminal behavior. In that argument it is helpful to remember that these artists all had permission to paint.
Undoubtedly additional legacies of the ruling will play out in coming months and years. For the moment, it looks like the artists won this time, which is a seeming rarity during a time when technology has created a nearly unmitigated “Wild West” landscape of rights and responsibilities when it comes to aesthetic expression.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. We Don’t Need More Rats: The Clandestine White-washing of 5Pointz
2. DISTORT by Element Tree and Art Primo
3. HOT TEA “UUGGHH”
BSA Special Feature: We Don’t Need More Rats: The Clandestine White-washing of 5Pointz
Hard to believe it has been a year since 5Pointz was buffed, and yet the shock to many has gradually sunk in. Almost a year to the day, we give you this personal remembrance through the eyes of a hometown filmmaker named P. J. Monsanto. With interviews with a few of the artists who had a close association with the graffiti holy place and some helpful backgrounding detail, Monsanto gives you a sense of the shock many felt the morning after the white-wash. Big Ups to P.J. for putting together this piece of New York’s collective history.
DISTORT by Element Tree and Art Primo
Distort takes his time on this roof burner captured on a sunny afternoon in New Jersey by Element Tree and Art Primo.
HOT TEA “UUGGHH”
You saw it first here! Hot Tea shares with BSA his latest installation and his commentary on the loss of an iconic building for that renegade brand of painting that New York is known for. This family owned building on Bowery and Spring in Soho that is one of the last spots in Manhattan for graff and Street Artists to hit up has been sold – for millions. For most Street Artists the allure of Manhattan has long since died, but every last bite of the Gentrification Monster has been a moment to pause, to consider the mall-ification of a vibrant downtown culture and a city once full of wild wonder and to say, “UUGGHH”.
Peeling Back Layers of Paint Offers Inspiration of a Different Kind
Typically one needs to go down underground, over a fence, through a broken window, or behind rusty chained metal doors to be an urban explorer. A flashlight is also advised. However, at the moment you can explore in broad daylight from the sidewalk the urban archaeology of a subculture as the walls of 5 Pointz reveal the layering of pigment one over the other multiple times – a rich cortex of history encased in the stacked strata of sprayed and brushed paint.
Much like a palimpsest, New York is again erasing history to make room for something new. As the ever-expanding cloud of affluence steamrolls across Gotham into the outer boroughs, this urban castle of effluence still stands as a record of the graffiti history that sparked a thousand aerosol aspirations by everyday New York youth – and many international ones as well. Your closer examination of the mottled walls of this former graffiti holy place reveals a peeling façade demarcated by the layers of colors and creative expression that once raced across these walls.
Perhaps by way of skirting the emotional outpouring that was sure to accompany a public act of white blight, the property owners of 5 Pointz in Queens chose to buff this massive complex under cover of night last fall, rather than letting it become a drawn-out public affair. But now it’s just standing here, waiting for demolition.
And as long as this site persists, the burly former home of artist spaces, photo/video shoots, inventive industry and an all encompassing skin that proved to be a magnetic canvas is still fixed as a perpetual reminder of its former self.
Speak to some wistful visiting passersby or check out the scrawled angry missives newly appearing and you learn that this is tantamount to an open wound for some fans, artists, organizers who make up the eclectic mix of mark-making would-be congregants. They still make the pilgrimage to Long Island City if only to look once more, stopping to consider it.
Possibly they are using x-ray eyes as they imagine under the surface buff membrane wrapping this hulking mass lie the burners, throwies, tags, murals, wheat-pastes, exhortations, rants, call-outs, poetries and affinities that were once visible. Now they are all just sitting quietly just under the layer of hastily applied patchy neutral tint.
Looking for remnants of what was once there, you discover the layers of paint now chipping and fanning in a thinly striped crust of paint, bending back its jagged edge; hues and shades and tenors discordant. Sugar soda orange, shamrock green, forest moss, fire engine red, lemon yellow, cerulean blue – the primary layers here must reveal something to us, like the rings of a tree as read by a dendrochronologist examining the stump; each line of color marks a moment in time, giving us news about the calm or harshness of the climate in that era.
Presently appearing as a giant hunted pachyderm fallen in the urban jungle, the relevance of 5 Pointz once hinged on the evolving collection of freshly painted works going up day after day, year after year, by well known and lesser known artists who visited from all over the world. Some even called it Mecca, for lack of a better word, and painters and fans alike felt compelled to visit it. Yet, you may consider it to be still alive.
So the murals on the surface are gone but in reality they are not – they are here in front of us, just covered by layers of paint. If you want to, you may see it as evidence of the tribute to collaborative public space that 5 Pointz embodied – the affirmation of a multi-membered community united in all it’s multi-colored splendor. Here is your visual forensic report: before you is a brief sampling of the thousands of hours of sweat, labor, inspiration – and thousands of gallons of paint, vividly represented, richly textured, and unquestioned proof of the success of 5 Pointz.
Here’s our weekly interview with the street, this week featuring Alice Pasquini, Boy Kong, El Topo, Flood, Foxx Face, GSC, Kaffeine, Li-Hil, LMNOPI, Myth, NTC Cru, Olek, Ozmo, Texas, Gane, TV With Cheese, and Versus.
We’re in the thick of summer now ya’ll, get out the lime popsicles and 40 SPF sunscreen and let’s ride our bikes out t0 Coney Island. New Yorkers don’t need those waves like Cali to be happy, we just like the sand and the crash of the waves and waft of french fries from up on the boardwalk. Check out that lady dragging the cooler up the beach inbetween all the towels and tanning babes and boys, “Budweisahhhh! “Ice cold beeaaah heeeah! Get ’em while their cold! Get ’em while I got ’em!” Hey, wanna go in?
Here’s our weekly interview with the street, this week featuring ADB, Bisco203, Bishop203, Cake, Cern, ClassicB23, Foxx Face, Don John, Don Rimx, El Niño de las Pinturas, Elle, Emma Krahn, Gilf!, J. Meloy, KA, Leias203, LUTU, ND’A, Perk, Sebs, SenTwo, Sex, SKings Wanky, Stikki Peaches, and Vexta.
Here’s our weekly interview of the street, this week featuring $hota, Armer, bunnyM, C215, Curtis Kulig, DAO, Demian Smith, Essencia, Gyser, Irade, Joseph Meloy, Judith Supine, Love Me, Meres, Monsieur Plume, Patch Whiskey, Raid Crew, Mr. Blob, Robert Janz, SEN2, Shiro, Smogk, Spagnola, Theo David, and Thomas Buildmore .
We’ve seen a lot of fat cats, but never one this big. French Street Artist C215 finished it this week on a wall in the 13th arrondissment of Paris. Demian Smith, founder of Underground Paris, says the chat géant is “part of the neighborhood’s strategy to create an alternative tourism industry in this pretty ugly, working class area in the south of Paris.” – Not the first time that Street Artists have perked a place up, just usually not on this scale. The strategy has so far included murals by Shepard Fairey, Inti, and Vhils, he says. Special thanks to Théo David for sharing these exclusive shots for BSA readers.
a documentary and a public family event
Throughout the summer of 2013, cameras followed four New York City artists as they joined others at 5 Pointz, a well-known quarter in Queens, NY, where artists from all over come out to create art and celebrate freedom of expression by showcasing their art across building walls. The artists took to the famed brick canvas to paint the phrase “The Artist Process” captured it all on film. Acclaimed New York City “live art performer”
“We all live in NYC, so we all have a rhythm…These are just
layers, you can say, of all the art that has been expressed here…
I hope this event can show and tell people there is a lot of love
” THE ARTIST PROCESS “a documentary and a public family event
Throughout the summer of 2013, cameras followed four New York City artists as they joined others at 5 Pointz, a well-known quarter in Queens, NY, where artists from all over come out to create art and celebrate freedom of expression by showcasing their art across building walls. The artists took to the famed brick canvas to paint the phrase “The Artist Process” captured it all on film. Acclaimed New York City “live art performer”
If you have a healthy attitude toward discovery you are always going to be entertained by the art that people are leaving on the street. You could say that right now abstract sculpture is showing up a little more, the animal kingdom is still out to represent, and in the face of all the large murals we’ve been seeing comes a variety of small works and one-offs by people with names or those who aren’t in it for the fame. Don’t try to make too much sense of it all, though, you’ll ruin it for yourself! Here’s our weekly interview with the street, this week featuring CB23, Cholo, Dashan, Esteban Del Valle, FLM, Gilf!, Mint & Serf, and Tripel.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
