A groundbreaking exhibition showcases over 200 photographs of graffiti by Gordon Matta-Clark.
Gordon Matta-Clark. Tag Wall. 1972. (photo courtesy Estate of Gordon Matta-Clark)
“GRAFFITI ARCHIVE 1972/73: An Exhibition of Photographs from Gordon Matta-Clark” provides a unique glimpse into the graffiti culture of New York City in the early 70s, shot by the New York artist at a time when the movement was just beginning to take shape. Matta-Clark’s exploration of this vibrant street culture reflects his eye as much as the burgeoning scene in evolution, a unique pairing of artists’ visions through film.
Gordon Matta-Clark, known for his significant impact on conceptual art and his critiques of urban environments, captured these moments with a different aim than most photographers of his time. Instead of simply documenting, he delved into the graffiti scene with an artist’s eye, capturing the raw and spontaneous energy of the city’s youth. His photographs from 1972 and 1973 reveal the early days of graffiti, where the art form was more about personal expression and claiming space in a rapidly changing city than about the notoriety it would later bring.
Gordon Matta-Clark. 7UP. 1972. (photo courtesy Estate of Gordon Matta-Clark)
Roger Gastman, a key figure in the graffiti community, has played a crucial role in bringing this collection to light. He speaks of the exhibition not just as a display of historical moments but as an important act of preservation, bringing well-deserved recognition to Matta-Clark’s work and the graffiti culture of the time.
“What really resonates with me is the sense of pride I feel to be able to share these photos,” he says. It’s not just about showcasing graffiti—it’s a genuine homage to real history, a glimpse into the ‘who,’ ‘what,’ and ‘where’ of these vibrant stories etched onto walls and trains. I can’t help but feel happiness, knowing that Gordon Matta-Clark had the foresight to capture these moments and that his estate entrusted us to put this show together—it has truly felt like a collaboration,” says Gastman.
He emphasizes the significance of these images, highlighting the collaborative effort between himself and Matta-Clark’s estate to showcase this hidden chapter of art history.
“Throughout the years, I’ve invested considerable time into unearthing vintage gems from the early ’70s—drawings, paintings, and ephemera that tell stories of a bygone era. This exhibition, for me, is like revealing a well-kept secret, placing these treasures in their genuine context,” he says.
Gordon Matta-Clark. SUPER KOOL 1 Tag Wall. 1972 (photo courtesy Estate of Gordon Matta-Clark)
The exhibition doesn’t stop with Matta-Clark’s photographs. It also features original artworks from notable graffiti artists of the period, such as SNAKE 1, SJK 171, LEE 173rd, WICKED GARY, TRACY 168, and STAY HIGH 149. These pieces offer a direct link to the images captured by Matta-Clark, providing a fuller understanding of the era and its artistic output.
Gordon Matta-Clark. STAY HIGH 149. 1973. (photo courtesy Estate of Gordon Matta-Clark)
BEYOND THE STREETS & CONTROL Gallery announce the opening of “GRAFFITI ARCHIVE 1972/73” on March 1 and continuing until April 13, 2024.
The opening reception for EXHIBITION 010: GRAFFITI ARCHIVE 1972/73 will be held on Friday, March 1, 2024 from 6PM – 9PM, running through April 13, 2024.
“BEYOND THE STREETS & CONTROL Gallery are launching ‘Mister CARTOON’s ‘Just My Imagination,’ an exhibition showcasing many of the creative directions of the acclaimed artist and Los Angeles native. After a career that spans decades, Mister CARTOON has established himself as an artist with an admired and unique vision, bringing to mind his signature style of airbrushing, intricate drawings on diverse surfaces, and candy enamel automotive paint. The work is meticulous, ornate, full of swagger, and sweet nostalgia for the city he loves.
Mister Cartoon. Images courtesy of Beyond The Streets and Control Gallery. Click HERE for more information.
Born and raised, as they say, he began as a graffiti artist before venturing into murals, album covers, extraordinary tattoo work, and myriad logos. His artwork draws inspiration from the vibrant culture of Los Angeles, reflecting the emotions and experiences of growing up in this city during the ’80s, ’90s, and 2000s. A solo show like this in Los Angeles is a milestone, following acclaimed shows across the globe in Tokyo, Paris, and London. Visitors encounter a body of work that collectively takes them into his mesmerizing fantasy world, the high gloss nostalgia, the fusion of car culture, graffiti, and tattoo – a haze of musical history accompanying his ride.
Mister CARTOON • Just My Imagination
Opening Reception: Saturday, June 10, 2023, 3pm-8pm BEYOND THE STREETS – CONTROL Gallery
434 N La Brea Ave, Los Angeles, CA 90036 Hollywood On View: June 10 – July 15, 2023 • Wed-Sat 11am-6pm
Tonight is the VIP opening at the unveiling of Roger Gastman’s Beyond The Streets London edition, a combination gallery show, fine art exhibition, and superstore targeting the youngish hip fans and collectors of urban art. With historical roots and knowledge of culture at its base, BTS brings a largely American-centric roadshow previously configured for Los Angeles and New York into friendly European territory.
Most illustrative, perhaps, are the chapters that punctuate the multitude of stories installed throughout the entire Saatchi Gallery, known for its exhibitions of contemporary art and emerging artists since its founding in 1985 by the British art collector and advertising executive Charles Saatchi. The cross-culture nature of graffiti and street art and all of its worldwide tributaries during the last six decades is presaged perhaps by the intersectional spirit of such Saatchi shows as “Post Pop: East Meets West” in 2014.
Roger tells us that it was very important for him to bring this traveling feast here because of the interconnections shared in the shared evolution of popular culture and political movements between Britain and US cities during the last half-century in art, fashion, music, and the street.
“The story of graffiti and street art can’t be told without highlighting the significant role London, and the UK in general, has played in revolutionizing these cultures and continuing to spread the word of their existence,” Gastman says. “Pushing the global narrative has always been important to us, so we’re honored to continue telling these stories at a respected institution like Saatchi Gallery, whose prestige and impact are unmatched in the UK.”
The 70,000 square foot (6,500 sm) space is divided into chapters with names like “Dream Galleries,” “Blockbusters,” “Legends,” ”Larger Than Life,” and “Social Commentary,” the plastic arts, photography, ephemera, fashion, and site-specific installations will represent the multitude of ways western culture erupted and redirected itself with the aid of graffiti, hip hop, punk, and myriad expressions of DIY culture. By paying homage to these primarily youth-based monumental moments and the cultural narratives that reformed and rebelled, Beyond The Streets puts these 150 artists into representational roles for the hundreds of thousands of “rule-breakers and mark-makers” who collectively have pushed the culture forward.
Kenny Scharf creates a new Cosmic Cave at Beyond The Streets London. (photo courtesy of BTS)
Here, for a few stolen moments, you can look at these items, most previously unseen, which floated through the lives of that nice Jewish boy band named Beastie back when Reagan was trickling down and the Dead Kennedy’s held forth. It’s called simply “Exhibit”; lending a bit of institutional weight to a curious and eclectic collection of personal items, artifacts, and ephemera— the kind of stuff you scan and absorb, inferring its weight, volume, and texture. You may imagine what the moment was like – and imagine what it was like to be a Beastie Boy.
Beastie Boys EXHIBIT. Control Gallery – Beyond The Streets. (image courtesy of Beyond The Streets)
Artists Cey Adams and Eric Haze figure strongly into the street-inspired visual aesthetic that packaged the unruly New York punk-hip-hop-abstract jazz trio during their rise in the 1980s and 90s. Just gazing across the collection, it strikes you again how our modern era gets much of its character from the legion of designers and artists who have presented it – in addition to the talent projected by the names on the marquee.
Now 40 years in and one very loved man down, the brash, uncouth manners and frankly nasty lyrics are tempered by our collective maturity, admitted to almost apologetically, and the ephemera and the work is what remains. The enthusiastic zestful energy that first busted a new identity in a chaotic sound field is here for you; in these displays, these videos, these vibes, and their intergalactic funk.
The first show of its kind about the Beastie Boys opens Saturday, December 10, at CONTROL Gallery on the US coast opposite New York – possibly more sun-drenched and skate culture inflected – but certainly bringing the “sonic irreverence of hardcore and punk, blended with the bawdy and rebellious sounds of emergent hip-hop,” they became known for.
“The story of punk rock, hip-hop, skateboarding, and graffiti wouldn’t be complete without a chapter on Beastie Boys and the inedible mark they made on a movement that harmoniously merged the worlds of music and youth culture into a soundscape and experience all of its own,” says curator and co-founder Roger Gastman in a press release.
Beastie Boys fans will see a full sweep of ephemera and priceless idiosyncratic memorabilia they collected while making and promoting their albums – from Licensed To Ill, to Paul’s Boutique, to Check Your Head & Ill Communication, Hello Nasty, The Mix-Up, and Hot Sauce Committee Part Two.
“We’re happy that someone besides us appreciates all the weird shit we’ve collected,” says Adam “Ad-Rock” Horovitz.
EXHIBIT is produced by CONTROL Gallery, BEYOND THE STREETS, and Goldenvoice.
For further details and information on Beastie Boys Exhibit click HERE
It’s time for Street Art and graffiti fans of all flavors to make their annual peregrination to that Mecca of murals and art fairs and performances on the street, Miami, during Art Basel.
Specifically, we constantly roam through Wynwood, which began with a very healthy graffiti scene a couple of decades ago. Now people of all kinds roam the streets here to see newly commissioned and uncommissioned works commingle.
We also include a list of the official art fairs to hit below. Expect to hear Bad Bunny on the streets, see a lot of hot pink fashion, and New York’s Chainsmokers at LIV this weekend.
Smell the aerosol, the tacos, and lather on the coconut sunscreen – and be ready to mingle with some of the best this gritty commercial and the still organic street scene offer.
WYNWOOD WALLS
Click HERE for further information, schedules and tickets.
MUSEUM OF GRAFFITI
Click HERE for further information, schedules and tickets.
SCOPE ART FAIR
SCOPE HIGHLIGHTS BELOW: Click HERE for further information, schedules and tickets.
ART BASEL
Click HERE for further information, schedules and tickets. Below are highlights from the list of participating galleries:
One of the exciting book releases this fall drops today in stores across the country – which is appropriate with a name like Spray Nation.
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
The centerpiece of the complete boxed set released this spring, this thick brick of graffiti tricks will end up on as many shelves as Subway Art; the book of Genesis that prepared everyone for the global scene of graffiti and street art that would unveil itself for decades afterward. See our review from earlier in the year, and sample some of the stunning spreads here, along with quotes by the book’s essay writers, Roger Gastman, Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
“Culled from thousands of her Kodachrome slides from the early 1980s, the celebrated photographer and ethnologist worked with American graffiti historian Roger Gastman over many months during the initial Covid period to select this rich collection of images of tags, walls, and pieces. Each turn of the page more profoundly deepens your understanding of the graffiti-writing culture Cooper captured with Henry Chalfant in their book Subway Art nearly forty years ago. That clarion call to a worldwide audience took years to reverberate and shake culture everywhere. With time that book became the standard root documentation for what many see as the largest global democratic people’s art movement in history.”
“To create Spray Nation, Cooper, and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to portraits, action shots, walls, and painted subway cars. They are accompanied by heartfelt essays celebrating Cooper’s drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever.”
~ Prestel Publishing
“Martha’s photos have backed up graffiti writers’ tall tales more times than I can count. They’re like this crazy high school yearbook. As a result, Cooper is who every graffiti writer, fan, collector, and researcher wants to come and see. Most of them have not had the privilege of going to her studio and seeing the great amount of work she has amassed over the years – it’s truly awe inspiring. But every so often she pulls out yet another gem where we all scratch our heads and think, “Oh shit, what else is Martha holding?”
Roger Gastman, from the Foreward of Spray Nation
“‘If you want to publish your work, you cannot be ahead of or behind your time,’ she says as she reflects on an impeccable sense for capturing the birth of scenes like graffiti, hip-hop, and b-boying. ‘I was lucky to be at the right place and time.’”
“Martha is heralded today for capturing those trains and scenes along with Henry Chalfant in the seminal graffiti holy book Subwav Art, but few appreciate how painfully ahead of their time they were at that point.”
~ Steven P. Harrington, from Who is Martha Cooper?
“With a single snap of the shutter, Martha Cooper captured the searing rush of seeing a whole car make its debut on the line after being painted all night. You can all but hear the train thunder along the tracks and feel the ground rumble beneath your feet while a gust of wind hits your face. Is that the smell of spray paint?”
~ Miss Rosen, from Better Living Through Graffiti
“Martha took pictures of painted trains and b-boys because few bothered to at that time. Once people caught on, she considered her task completed. Martha followed the paint trail as it rose above ground. QUiK and IZ on the streets with Scharf and Hambleton. Madonna clubbing with Basquiat, Patti Astor with DONDI and FAB 5 FREDDY. Subway graffiti gradually died, street art rising from its ashes. Disinterest, drugs and AIDS decimated NYC’s cultural apex, its brightest stars perishing before their work hit the seven-figure mark – lives as ephemeral as our pieces on the train. These fleeting moments of births, peaks, and deaths live in perpetuity thanks to the foresight of Martha Cooper and a handful of others who tracked cool’s scent like underground bloodhounds.”
Jayson Edlin, from Peter Pan Haircut
“In a sense, Cooper’s photography picks up on the New Documentary approach of the early 1970s, in which independent photographers such as Larry Clark, Susan Meiselas, Jill Freedman, Mary Ellen Mark, and Danny Lyon recorded insider’s views of various closed societies of outsiders, social groups and “others” shoved aside by postwar American society in thrall to consumerism. The alienated drug users, prisoners, bikers, and prostitutes that those photographers lived among and depicted were largely invisible and had been further marginalized in America by class, race and gender prejudices. In a similar vein, Cooper sought to expose and legitimize the young subway writers as earnest and mildly rebellious artists with a purpose and a rational aesthetic agenda, rather than as the lawless urban vandals the police and the media sought to represent.”
~ Brian Wallis, from Graffiti As The People’s Art Form
Martha Cooper. SPRAY NATION 1980s Graffiti Photographs. Edited by Roger Gastman. Prestel. Germany, 2022.
Subway Art on Steroids: Spray Nation Sorts Through Mountains of Kodachromes
Spray Nation by Martha Cooper and Roger Gastman, with a foreword by Roger Gastman and essays by Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis.
Page after page of golden NYC hits from the Martha Cooper archive; this new hardcover tome expands the galaxy for fans and academics of that amber-soaked period when it seemed like New York was leading a Spray Nation of graffiti for cities across the country. Known for her ability to capture graffiti writers’ work in its original urban context, Ms. Cooper once again proves that her reputation as the documentarian of an underground/overground aesthetics scene is no joke.
With an academics’ respect for the work, the practice, and the practitioners, Cooper recorded volumes of images methodically for history – and your appreciation. With the vibrant and sometimes vicious city framing their pieces, an uncounted legion of aerosol-wielding street players raced city-wide at top speed, ducking cops and cavorting with a confident abandon in the rusted and screeching steel cityscape. By capturing these scenes without unnecessary editorializing, Cooper gives you access to the organically chaotic graffiti subculture on the move at that moment – directly through her unflinching eyes.
Martha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger Gastman
Culled from thousands of her Kodachrome slides from the early 1980s, the celebrated photographer and ethnologist worked with American graffiti historian Roger Gastman over many months during the initial Covid period to select this rich collection of images of tags, walls, and pieces. Each turn of the page more profoundly deepens your understanding of the graffiti-writing culture Cooper captured with Henry Chalfant in their book Subway Art nearly forty years ago. That clarion call to a worldwide audience took years to reverberate and shake culture everywhere. With time that book became the standard root documentation for what many see as the largest global democratic people’s art movement in history.
A smartly laid-out and thick volume (as well as its “Outtakes” collection), the high-quality printing and spare design hew to the photographer’s reliably straightforward approach, preferring to let the photos tell the story. From this perspective, Spray Nation is likewise a sleeper; We’ll probably only wholly appreciate its pivotal value and cultural importance with time.
Martha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger GastmanMartha Cooper: Spray Nation. Signed Limited Edition Box Set. Published by Beyond The Streets/Roger Gastman
Martha Cooper: Spray Nation. Signed Limited Edtion Box Set is published by Beyond The Streets. With a foreword by Roger Gastman and essays by Steven P. Harrington, Miss Rosen, Jayson Edlin, and Brian Wallis. Click HERE to purchase the book.
It’s that time of the year again! BSA has been publishing our “Hot Lists” and best-of collections for more than 11 years every December.
Our interests and understanding and network of connections continued to spread far afield this year, and you probably can tell it just by the books we featured: stickers, illustration, murals, copyright law, a cross-country spraycation, anamorphic street installation, Hip-Hop photography, graffiti writers community, and a lockdown project that kept an artists sanity.
So here is a short list from 2021 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.
Leon Keer: “Break Glass In Case Of Lost Childhood”
From BSA:
One of the challenges in creating a book about anamorphic art is presenting images that tell the viewer that they are being tricked by perspective yet hold onto the magic that this unique art conjures in people who walk by it on the street.
In a way, that brass skeleton key that allows entry into another world is precisely what Dutch pop-surrealist artist Leon Keer has been seeking for decades to evoke in viewers’ heads and hearts. Some would argue he is preeminently such; certainly, he is the wizard whose work on walls and streets has triggered memories for thousands of children and ex-children of the fantastic worlds they have visited.
“You develop your senses all your life. Through what you experience, you involve affinities and aversions,” he says in his first comprehensive bound collection of gorgeous plates entitled In Case of Lost Childhood Break Glass. “Your memories shape the way you look at the world. When it comes to reflecting my thoughts, my memories are key. I needed to feel some kind of affection or remorse towards the object or situation I want to paint.”
Street Art Today 2 by Bjorn Van Poucke: An Update on 50 “Most Relevant” Artists
From BSA:
A worthy companion to the original tome, Bjørn Van Poucke and Lanoo publishers extend the hitlist of favored muralists that he & Elise Luong began in Street art/ Today 1 – and the collection is updated perhaps with the perceived cultural capital many of these artists have garnered since then.
Replete with full-color plates from the artists’ own collections and garnished with brief overviews of their histories, creative background, and philosophies, the well-designed and modern layout functions as an introduction for those unfamiliar with the wide variety of artworks that are currently spread across city walls as large scale opus artworks in public space. As organizer and curator of The Crystal Ship mural festival in Oostende, Belgium, Mr. Van Poucke has had his pick of the litter and has showcased them during the late twenty-teens.
A new illustrated tome capturing the black and white work of one-half of Ukraine’s mural painting duo Interesni Kazki welcomes you into the past wonders and future imaginings of a world framed in “Phantasmagoria.”
Full of monochromatic fantasies at least partially inspired by the worlds unleashed by Belgian inventor and physicist Étienne-Gaspard “Robertson” Robert, Waone’s own interior expanding fantascope of miss-appended demons, dragon slayers, riddle-speaking botanicals, and mythological heroes may borrow as deeply from his father’s Soviet natural science magazines that brimmed with hand-painted illustrations – which served as his education and entertainment as a child.
This book, the first of two volumes of graphic works, explores Waone’s move from the street into the studio, from full color into black and white, from aerosol and brush to etching, lithography, augmented reality, and sculpting.
“Closed (In) for Inventory”: FKDL Makes the Most of His Confinement, 10 Items at a Time
From BSA:
The world is slowly making movements toward the door as if to go outside and begin living again in a manner to which we had been accustomed before COVID made many of us become shut-ins. Parisian street artist FKDL was no exception, afraid for his health. However, he does have a very attractively feathered nest, so he made the best of his time creating.
“March 17, 2020, the unprecedented experience of confinement begins in France,” writes Camille Berthelot in the introduction to Closed (in) for Inventory, “Time that usually goes so fast turns into a space of freedom, and everyone has the leisure or the obligation to devote himself to the unexpected.”
FKDL quickly began a project daily, sorting and assembling 10 items and photographing them. He posted them to his Instagram by mid-day. Eventually, he saved the photographed compositions together and created this book.
“My duty of tidying up and sorting out turned into a daily challenge. I dove like a child into the big toybox my apartment is to select and share my strange objects, my banalities, my memories, my creations, and those of others,” he writes. “I gather these treasures, valuables or not, in search of harmony of subject, forms, materials, and nuances.”
The street sticker, be it ever so humble and diminutive, is profligate and sometimes even inspiring. An amalgamated scene that is anonymous, yet curiously stuck together, the organizers and sponsors of so-called sticker jams have been overwhelmed in recent years by thousands of participants.
Artist and organizer IWILLNOT has compiled, organized, archived, and preserved this collection as a ‘field guide,’ he says, and another artist named Cheer Up has laid out page after page. It is a global cross-sample from 60 countries and a thousand artists – a treasure trove of the witty, insightful, snotty, and sometimes antisocial street bards of the moment, seizing their moment to speak and mark territory.
A year after its close, we open the book on American street artist MOMO’s new book chronicling the exhibition “Parting Line.” Writing about and covering his work for 15 years or so, we’re always pleased to see where his path has led – never surprised but always pleased with his evolution of decoding the lines, textures, practices, serendipity of discoveries unearthed by this wandering interrogator.
Here, along the river Seine banks, we see his exhibition for the still young Hangar 107, the recently inaugurated Center For Contemporary Art in Rouen, France. While we think of his work in New York in the 2000s, we see the steady progression here – his cloud washes, raking patterns, his experimental, experiential zeal. This is the spirit of DIY that we first fell in love with, the lust for uncovering and the desire for making marks unlike others across the cityscape, quizzically folding and unfolding, pulling the string, drawing the line.
“Born In The Bronx” Expanded: Joe Conzo’s Intuitive Eye on Early Hip Hop
From BSA:
Born in the Bronx: A Visual Record of the Early Days of Hip Hop
Yes, Yes, Y’all, it’s been a decade since this volume, “Born in the Bronx,” was released. The images here by photographer Joe Conzo seem even more deeply soaked in the amber light of early Hip Hop culture from the late 1970s and early 80s, now taking on a deepened sense of the historical.
As the city and the original players of this story have evolved through the decades that followed the nascent Hip Hop era, it’s clearer than ever that this was nothing less than a full-force eruption, a revelation that cracked and shook and rocket-fueled an entire culture. Thanks to Conzo it was captured and preserved, not likely to be repeated.
Born in the Bronx is full of gems, insider observations, interviews, and personal hand-drawn artworks. One critical cornerstone is a timeline from Jeff Chang that begins in 1963 as the boastful but failed Urban Planner Robert Moses constructed the Cross Bronx Expressway – painfully destroying and displacing people and families, severing culturally significant, vibrant areas of the borough and producing a dangerous malaise.
Enrico Bonadio is a contributor to BSA Writer’s Bench OpEd column, he is a Reader in Intellectual Property Law at City, University of London, and a street and graffiti art aficionado. His current research agenda focuses on the legal protection of non-conventional forms of creativity. He recently edited the Cambridge Handbook of Copyright in Street Art and Graffiti (Cambridge University Press 2019) and Non-Conventional Copyright – Do New and Atypical Works Deserve Protection? (Elgar 2018). He is currently working on his monograph Penetration of Copyright into Street Art and Graffiti Sub-Cultures (Brill, expected 2022).
Enrico is a Member of the Editorial Board of the NUART Journal, which publishes provocative and critical writings on a range of topics relating to street art practice and urban art cultures.
His academic research has been covered by CNN, Wall Street Journal, Bloomberg, BBC, Washington Post, The New York Times, Financial Times. Reuters, The Guardian, The Times, Independent, and The Conversation, amongst other media outlets.
A “Gentle People” Aussie Tour: Paint, Fun, and Run with 1UP & Olf
From BSA:
It’s almost sublimely subversive to publish your illegal graffiti escapades in a handsomely bound photo book with creamy paper stock and gauzy, professional photos. Positioned as a travelogue across the great Australian continent (complete with a hand-drawn map), the international troupe of sprayers named 1UP from Germany provides a genteel accounting of their expansive itinerary in a diary here for you, dear reader.
The stories are not without surprise and carefully touch on all the necessary road trip tropes you may wish for but cannot be assured of in a cross-country graffiti tale of skylarking and aesthetic destruction: angry rural police, security cameras, sleeping in rolled-up carpets, fancy receptions with Aperol Spritz, climbing over fences, sudden fire extinguisher tags, exploding paint cans, smoky wildfires, beaches, wallabies, long never-ending-stretches of road, the Sydney Harbor, an emergency-brake whole-car in Melbourne, and yes, a large kangaroo smashing into your car on a darkened country path.
“Nation Of Graffiti Artists” Opens Another Chapter of NYC Writer History
From BSA:
SCORPIO, BLOOD TEA, ALI, STAN 153, SAL 161, CLIFF 159. It was the mid to late 70s in New York and train writing was in its foundational stages, later to be referred to as legendary. For a modest crew of teenagers, it was the hypest stage you could be on, and going all city constructed many dreams of fame and recognition on the street.
Jack Pelsinger wanted to help shepherd these talents and energies into something they could develop into a future, maybe a profession. With a lease on a storefront from the city for a dollar in 1974, he made way for the Nation of Graffiti Artists (NOGA). An artists workshop and haven for a creative community that was regularly sidelined or overlooked, the author of this new volume, Chris Pape (acclaimed OG Freedom), says “Like moths drawn to a light, the kids showed up, hundreds of them.”
With extraordinary photos shot by Michael Lawrence, the book serves as a true document for the New York of that moment and opens doors to a chapter of graffiti history you may not even have known of until now.
SCORPIO, BLOOD TEA, ALI, STAN 153, SAL 161, CLIFF 159. It was the mid to late 70s in New York and train writing was in its foundational stages, later to be referred to as legendary. For a modest crew of teenagers, it was the hypest stage you could be on, and going all city constructed many dreams of fame and recognition on the street.
Jack Pelsinger wanted to help shepherd these talents and energies into something they could develop into a future, maybe a profession. With a lease on a storefront from the city for a dollar in 1974, he made way for the Nation of Graffiti Artists (NOGA). An artists workshop and haven for a creative community that was regularly sidelined or overlooked, the author of this new volume, Chris Pape (acclaimed OG Freedom), says “Like moths drawn to a light, the kids showed up, hundreds of them.”
With extraordinary photos shot by Michael Lawrence, the book serves as a true document for the New York of that moment and opens doors to a chapter of graffiti history you may not even have known of until now.
NATION OF GRAFFITI ARTISTS, NYC. WRITTEN BY CHRIS PAPE WITH PHOTOGRAPHY BY MICHAEL LAWRENCE. PUBLISHED BY BEYOND THE STREETS, 2021.
This time of year, it is hard to find people in Manhattan on the weekends – they’re “weekending” in the Hamptons, darling.
Khari Turner, Hands
Not exactly the original setting you might associate with graffiti, street art, hip-hop, punk rock, zines, and underground art culture but where else can curators Evan Pricco and Kim Stephens sell these works on paper while sipping cool drinks poolside?
“Beyond the Streets” carries the mobile party to Southampton Arts Center this Saturday with a wide swath of styles – 500 works from over 100 artists in an art fair-sized venue. It may remind you of the Urban Air Fair tried in Manhattan in summer 2017, but this one has something that one didn’t: Roger Gastman.
Shepard Fairey, Elysium Lotus
If it’s here, it’s because it is quality work and has a connection to the roots of these subcultural scenes usually as well. Expanding now to the more nebulous category of Contemporary, you may be surprised to see more accessible interpretive variations on the themes. Let’s see that paper, people.
Jane Dickson, Fourth of July 2
Artists include: Action Bronson, Addam Yekutieli, agnès b, AIKO, André Saraiva, Andrew Schoultz, Andrew Thiele, Andy Rementer, Aryz, Bert Krak, Brandon Breaux, Broken Fingaz, Bryant Giles, Camille Walala, CES, Cey Adams, Charlie Ahearn, Chloe Early, Chris FREEDOM Pape, Clark Fox, Cody Hudson, Conor Harrington, Craig Costello, CRASH, DABSMYLA, Daniel Rich, David “Mr StarCity” White, DAZE, DEFER, Emily Manwaring, Eric Haze, Ermsy, Escif, FAILE, Faith XLVII, Fucci, Greg SPONE Lamarche, Gustavo Zermeno, Hilda Palafox, House 33, HuskMitNavn, Ian Reid, Icy & Sot, Jaime Muñoz, Jamilla Okuba, Jane Dickson, JEC*, Jeremy Shockley, Jillian Evelyn, JK5, John Konstantine, Julian Pace, KATSU, KC Ortiz, Kelsey Brookes, Khari Turner, Kime Buzzelli, LeRoy Neiman, Linas Garsys, Liz Flores, Lucy McLauchlan, Lujan Perez, Maripol, Mark Mothersbaugh, Martha Cooper, Marshall LaCount, Matt McCormick, Maya Hayuk, Michael Vasquez, MIKE 171, Mister CARTOON, Neena Ellora, Nehemiah Cisneros, Nettie Wakefield, NUNCA, Otto183, Paije Fuller, Paul Insect, POSE, Rebecca Morgan, Reko Rennie, Rello, Richard Colman, RISK, Ron English, Ryan McGinness, Sage Vaughn, Saladeen Johnson, Scott Campbell, Sean from Texas, Senon Williams, Shantell Martin, Shepard Fairey, SJK 171, Sofía Enriquez, SNOEMAN, Spacebrat, STASH, Steve ESPO Powers, SWOON, TAKI 183, The Perez Bros., Timothy Curtis, Todd James, Troy Lamarr Chew II, Umar Rashid, Victor Reyes, Wasted Rita, Wulffvnky, Yarrow Slaps, Yusuke Hanai, ZESER, ZOER and 45RPM.
BEYOND THE STREETS on PAPER July 17—August 28, 2021 Southampton Arts Center, Southampton, New York, 11968
Born in the Bronx: A Visual Record of the Early Days of Hip Hop
Yes, Yes, Y’all, it’s been a decade since this volume, “Born in the Bronx,” was released. The images here by photographer Joe Conzo seem even more deeply soaked in the amber light of early Hip Hop culture from the late 1970s and early 80s, now taking on a deepened sense of the historical.
As the city and the original players of this story have evolved through the decades that followed the nascent Hip Hop era, it’s clearer than ever that this was nothing less than a full-force eruption, a revelation that cracked and shook and rocket-fueled an entire culture. Thanks to Conzo it was captured and preserved, not likely to be repeated.
The book is masterfully edited by Johan Kugelberg, the true visionary of this project, who established and has overseen the growth of a collection of memorabilia and history for the Hip Hop History Archive at Cornell University – which now boasts a quarter million items. A modestly thick hardcover, it’s rich in its choices. Posters, handbills, album covers, original lyrics by performers, stunning portraits backstage, on stage, on the mike, and on the street; this is a world you can immerse yourself into quickly and without pretension.
Born in the Bronx is full of gems, insider observations, interviews, and personal hand-drawn artworks. One critical cornerstone is a timeline from Jeff Chang that begins in 1963 as the boastful but failed Urban Planner Robert Moses constructed the Cross Bronx Expressway – painfully destroying and displacing people and families, severing culturally significant, vibrant areas of the borough and producing a dangerous malaise.
An ensuing blight only fueled the “white flight” from the city, leaving a growing number of dispossessed black and brown neighborhoods that suffered for decades afterward. His timeline ends in 1986 with Run DMC going platinum and a drug war ramping up to see a booming prison population. With these events as bookends, you know the music, art, dance, fashion, and performance culture that grew out of the Boogie Down was going to be commanding and resilient.
Afrika Baambatta recounts a foreword to Miss Rosen, LL Kool J does a brief “kick-off,” the Cold Crush Brothers hit the stage, and the packed crowd is enthralled. To get the full story about how to document the scene, check out Joe Conzo’s account told to Miss Rosen – the story of a shy chubby boy – the son and grandson of community activists who became his high school’s resident photographer and who parlayed subsequent connections into an exploration of music, performance, and the burgeoning Hip Hop scene at the moment it was happening.
For a richly rendered graffiti context, there is a fully realized recounting of the people and the scenes that informed it in an essay by Carlos MARE 139 Rodriguez called “What You Write?” With it, you get a true sense of a an exciting merging of music, aesthetics, society, street, creativity, and community.
The book closes with a very personal but pertinent poem, it’s short verses ducking and spinning and swaggering with pride at what the Bronx gave birth to; a global culture that continues to resonate worldwide and rock the bells.
“No ends could be made For the price we would pay Economically strapped No time for a nap
‘Cause this is about to go down
The boogie down was burning And my people yearning Just to get a piece of the pie My mind’s eye
Was as big as the sky”
~Luis Cendeno AKA DJ Disco Wiz, from “The Land Before the Rhyme”
BORN IN THE BRONX: A Visual Record of the Early Days of Hip Hop. Expanded edition published in 2020 by 1xRUN with support from ROCK THE BELLS & BEYOND THE STREETS. Detroit, MI. 2020.
This summer New York has been crazily, sometimes chaotically overlaid with tons of graffiti, Street Art, and murals – a testament to the enduring passion of a public that wants to see this organic patterning of the city skin, and the unquenchable thirst that artists and writers in New York have for showing their work to the public without intervening forces. Some of it is illegal, some of it is legal – all of it is part of the New York conversation.
Additionally, and in concert with, this ongoing conversation is a private pop-up exhibition called “Beyond the Streets” that pulls back from this moment and looks at pertinent and fundamental slices of the first 50 years of art in the streets from the perspective of a handful of sharp-eyed curators who have done their homework.
Presented in the context of historians defining a view of the scene with an eye toward private collectors of contemporary art, the vast show features paintings, sculpture, photography, site-specific installations, commercially branded environments, a large gift shop, historical ephemera – and a 30th anniversary Shepard Fairey exhibition within the exhibition.
“Beyond the Streets” in Williamsburg, Brooklyn was originally a three-month show that ran through August, it has been extended to September 29th – as they say – by popular demand. In addition, to celebrate and thank the community for their support, BEYOND THE STREETS will host free admission day on Thursday August 29th.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
