We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2024. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
When BSA was in Dublin this year we found this mural by street artist Asbestos is still in good condition, and still turning heads.
Created as part of a series addressing the housing crisis in Ireland, the work reflects a broader issue affecting much of the Western world, where the financialization of housing continues to outmaneuver societal efforts to resolve it.
His people’s faces are often hidden or obscured, only their eyes shown – perhaps a metaphor for personal space and the psychological sanctuary it offers. Without knowing directly the intention of the work, we found folks on the street in Dublin this May to be caught by surprise at the view, with some taking a moment on the sidewalk to surmise what Asbestos is trying to say.
The figure, clad in a shirt with bold stripes, juxtaposes the simplicity of everyday attire with the surrealism of the house encasing the head, creating a mixed sense of both the mundane and the extraordinary. Before long, you can see that Asbestos is focused on themes of belonging, memory, and the fragility of the human psyche.
We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2024. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
The street artist named Hera always gets people’s interest when we publish her work. Nymphs and animals and mystic creatures with emotional eyes evoke a theater of street mythology. Adjacent to poetic non-sequiturs, Hera’s murals often resemble scenes within a more extensive play. Trees, walls, and sky are all part of the backdrop for the narrative she creates, implied as part of the same theatrical set design. You can be sure she intended something specific to be interpreted each time, but a passerby is free to co-author the story in their mind.
As the year comes to a close, we are pleased to present our 14th curated list of books—a reflection of our ongoing commitment to building a world-class library in Berlin. As co-founders of the Martha Cooper Library, our mission is to develop and maintain one of the most comprehensive collections dedicated to art books, photography archives, urban culture studies, street art monographs, graffiti history, and public art anthologies. These works serve as a vital resource for researchers, practitioners, and enthusiasts who engage deeply with these fields.
Looking ahead to 2025, we are thrilled to announce the inaugural Martha Cooper Scholarship, which will launch next year in collaboration with Urban Nation Museum, the Martha Cooper Library, and Martha herself. This scholarship will support outstanding achievements in photography, underscoring her and our dedication to fostering new generations of talent and scholarship in visual culture.
Numerous publications explore street art, graffiti, and related practices each year, adding valuable perspectives and insights to the field. While our focus for this year’s list includes some recent releases, we’ve also highlighted significant works from previous years that help us put today in a better context. We invite your suggestions for books you’d like to see featured or added to the Martha Cooper Library collection and featured here. Your recommendations are invaluable as we continue to expand and diversify our offerings.
Below is our selected shortlist – books that make meaningful additions to any library and thoughtful gifts for family, friends, or even yourself. We hope you enjoy them as much as we have.
Bartek Świątecki, aka Penner, has a style that is a confidently defined blend of bold colors, geometric shapes, and abstract forms harmoniously intertwined. It’s a graphical minimalism that speaks volumes, with straight lines and pure colors forming complex, geometrical clusters. This unique visual language demonstrates his mastery of blending traditional graffiti with modern abstraction and reflects a deep engagement with high art and youth culture. His murals and canvas works, often large-scale, are known for their dynamic and vibrant nature, inviting viewers into a world where street art and fine art converge.
Books In The MCL: Golden Boy as Anthony Cool: by Herbert Kohl and James Hinton
From BSA:
Herbert Kohl and James Hinton’s “Golden Boy as Anthony Cool,” published in 1972, is a seminal work in the study of urban graffiti and street culture. Not only an academic exploration; it’s a journey into the heart of graffiti as a form of personal expression, rebellion, and cultural identity. Kohl’s insightful essays paired with Hinton’s evocative photographs provide a window into the lives of young people in the urban landscapes of New York City and Los Angeles as they simultaneously boil, wane and flourish in the late 60s and early 70s. These vibrant and vibrating communities are chronicled, whether affluent suburbs or struggling neighborhoods, each appears to brim with stories cryptically told through tags and murals on walls and doors.
Text Steven P. Harrington and Jaime Rojo Photos by Sebastian Kläbsch
Books In The MCL: The Self-Titled “NeSpoon” by NeSpoon.
From BSA:
“NeSpoon,” a monograph on the work of the Polish artist, provides a comprehensive examination of her unique integration of lace patterns into urban and natural landscapes. The book, limited to 111 copies, each spanning over 420 pages, showcases the artist’s extensive portfolio and delves into the anthropology, cultural, and historical significance underlying her chosen medium.
“Why lace? It just came to me. Lace chose me, not the other way around. I’ve never liked lace. Before I started working with it, I thought lace was something old-fashioned, from a grandmother’s dusty apartment. Today it seems to me that each lace harbors harmony, balance and a sense of natural order. Isn’t that just what we are all searching for instinctively?”~ NeSpoon
Text: Steven P. Harrington and Jaime Rojo, Photos: Sebastian Kläbsch
Books In The MCL: Tokyo Tattoo 1970. Martha Cooper. Stockholm, Dokument Press.
From BSA:
In “Tokyo Tattoo 1970,” photographer Martha Cooper, well-known for her definitive work on New York City’s graffiti scene, applies her ethnographic skills to document traditional Japanese tattooing. This book provides a clear and respectful portrayal of a secretive and highly specialized art form, preserved in black-and-white film photography. Through Cooper’s lens, readers gain access to the traditional techniques and cultural narratives embedded in Japanese tattoo art, offering insights into an art form that was largely inaccessible during the early 1970s.
Text: Steven P. Harrington and Jaime Rojo Fotos: Sebastian Kläbsch
Books In The MCL: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón.
Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón. 2018. New York. New York University Press.
From BSA:
“Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora” by Jessica Nydia Pabón-Colón provides an insightful look into the world of women graffiti artists, challenging the perception that graffiti is a male-dominated subculture. This book highlights the contributions of over 100 women graffiti artists from 23 countries, showcasing how they navigate, challenge, and redefine the graffiti landscape.
From the streets of New York to the alleys of São Paulo, Pabón-Colón explores the lives and works of these women, presenting graffiti as a space for the performance of feminism. The book examines how these artists build communities, reshape the traditionally masculine spaces of hip hop, and create networks that lead to the formation of all-girl graffiti crews and painting sessions. This aspect is particularly useful in understanding how digital platforms have broadened the reach and impact of women graffiti artists, facilitating connections and collaborations worldwide.
Text: Steven P. Harrington & Jaime Rojo Fotos: Sebastian Kläbsch
ESCIF / “The Foundations of Harmony and Invention”
FROM BSA:
It would be challenging to extricate Escif’s work from the city and its daily routines. The city, with its cacophonous soundtrack created by its inhabitants’ constant movement and the fluidity of their industry and agency, remains central to the artist’s focus and relevance.
For Escif, the city is not just a muse but the bedrock of his artistic inspiration, a canvas, and an outlet for addressing its contradictions and inequalities. In his work, the city is not an abstract subject but a perpetual, tangible, and knowable presence, manifested in myriad encounters, journeys, dreams, observations, and experiences, later reassigned onto paper, canvas, or concrete.
Urban Nation’s Love Letters to the City, curated by Michelle Houston, is both an exhibition and a fulsome, sophisticated incantation. It invites audiences to confront the layered realities of urban life through the interpretation of its anonymous visual rebels, graffiti writers, and street artists and a generous representation of activists.
The show embraces the chaotic energy of unsanctioned art in the streets while seeking to decode its deeper meanings. It moves beyond the aesthetic to probe the social and political forces that shape these messages, sometimes manifestos. With themes ranging from urbanization and gentrification to environmental degradation and social inequality, Houston challenges visitors to imagine and reimagine the role of art in public spaces and consider its potential to transform the everyday into something with weight and impact.
“Painting in public spaces is inherently political,” Houston says, emphasizing the power of public art to reflect and react to the environment in which it exists. This exhibition showcases that power, exploring how artists navigate and reinterpret public spaces to create works that are as much about dialogue as they are about visual impact. The concept of “love letters” broadens here to encompass affection, critique, sarcasm, and hope—as multifaceted as the modern city.
One of the exhibition’s defining features is its indoor and outdoor elements integration. Lady Pink’s monumental mural on Urban Nation’s façade is a vivid testament to her approximately fifty-year legacy of painting on city walls and the interconnected histories of New York and Berlin. Her work, swirling with trains and iconic tags, serves as a personal love letter and a broader commentary on the universal city—a place of movement, reinvention, and resilience. Inside, installations like Moses & Taps’ suspended parcel truck and Rocco and His Brothers’ reconstructed graffiti writers’ benches disrupt the museum space with some of the raw energy of the street, blurring the lines between the institution and the public sphere.
The show also delves into Berlin’s complex history with walls and paint, with artifacts from the Stiftung Berliner Mauer prompting viewers to consider the dualities of oppression and liberation that define the city’s narrative.
“What is it about the glorification of a symbol of oppression by painting one side, and how was that commercialized?” Houston asks, pushing audiences to think critically about how art interacts with history and commodification. These questions resonate deeply in a city where the walls bear witness to decades of struggle and transformation.
The exhibition combines an impressive roster of artists, from early pioneers like Blek le Rat and Shepard Fairey to contemporary innovators like Bordalo II and Jazoo Yang. Each work offers a distinct perspective on the urban experience, whether through critiques of environmental decay, explorations of social identity, or celebrations of urban resilience. Houston’s curation creates space for these voices to intersect, offering unity and tension as the exhibition’s themes unfold.
At its heart, Love Letters to the City is a call to reconsider how we interact daily with the designed/built/neglected/destroyed human-made environment. It asks us to see the city as a backdrop and an active participant in our lives—a canvas where personal and collective histories collide.
As Houston asserts, “Paint in public space has a different potency in the city than anywhere else.” That potency lies in its immediacy, ability to provoke, offend, and inspire, and capacity to reflect urban life’s complexities. Through this exhibition, Urban Nation affirms the enduring relevance of this kind of public art and its power to illuminate the cities we call home.
2501, Banksy, Blek le Rat, Bordalo II, Carlos Mare aka Mare139, Chop ’em Down Films, Crash, Dan Witz, Daze, Drew. Lab_One, Elfo, Evol, HA Schult, HOGRE, Isaac Zavale, James Reka, Jaune, Jazoo Yang, Joel Daniel Phillips, Johannnes Mundinger, Jordan Seiler, Kenny Scharf, Lady Pink, Liviu Bulea, Martha Cooper, Matthew Grabelsky, MILLO, Moses & Taps, Nika Kramer, Octavi Serra, Owen Dippie, OX, PAINTING DHAKA Project, Mr. Paradox Paradise, Rocco and his brothers, Sebas Velasco, Shepard Fairey, Stephanie Buer, Stiftung Berliner Mauer, Stipan Tadić, Susanna Jerger, Tats Cru, THE WA, Vhils, and Zhang Dali.
Video credits: Commissioned by Stiftung Berliner Leben. Shot by Alexander Lichtner & Ilja Braun. Post-production, additional footage, graphics, and a final version by Michelle Nimpsch for YAP Studio/YES, AND… productions GmbH & Co. KG
LOVE LETTERS TO THE CITY
September 14, 2024 – May 30, 2027. For a schedule of events, hours of operation, directions, and more details click HERE
It would be challenging to extricate Escif’s work from the city and its daily routines. The city, with its cacophonous soundtrack created by its inhabitants’ constant movement and the fluidity of their industry and agency, remains central to the artist’s focus and relevance.
For Escif, the city is not just a muse but the bedrock of his artistic inspiration, a canvas, and an outlet for addressing its contradictions and inequalities. In his work, the city is not an abstract subject but a perpetual, tangible, and knowable presence, manifested in myriad encounters, journeys, dreams, observations, and experiences, later reassigned onto paper, canvas, or concrete.
Escif’s keen commentary on essential subjects—the environment, social injustice, human rights, humanity, and beauty—is profoundly intertwined with the city. He neither backs away from its battles and challenges nor sugarcoats his art with glossy, shiny distractions that ignore the habitat around him. His elegant compositions, stripped of noise and clutter, present ideas rooted in reality and the inherent beauty of urban life’s ever-present comings and goings.
His new book, “The Foundations of Harmony and Invention,” is a 600-page tome compiling his work from the past 12 years. Crowd-funded, the project brings people together under a shared symposia of ideas and notes spearheaded by the artist. This spirit of collaboration is evident in the dozens of contributors featured in the book, including photographers, illustrators, artists, and writers.
Structured non-linearly, the book resembles an orchestral symphony, with every instrument—some homemade—and voice at play. Against this backdrop, Escif’s visual works, such as paintings, sculptures, and photographs, are combined with written contributions—cogitations, observations, anecdotes, manifestos, lamentations, odes, and protests—from himself and others. The result is a nutrient-rich, rumbling, and vital river of ideas and propositions that evolve into an expansive dialogue between the artist and the world around him.
We found the book’s description in the press release particularly compelling and share an excerpt here:
“So, this book, in a rectangular shape and hardcover, could well serve as a wedge with which to block the revolving doors of the Central Bank; as a companion for pleasure and adventures; as a small step to lean on to jump over a fence; as a cushion to sleep under a tree; as a throwing-object directed against a shop window; and also—why not—as a book, claiming pause, silence, and timelessness against the dominant paradigm of productivity.”
Somehow, Escif captures the everyday serenity and absurdity of life in these times—caught somewhere between the industrialization era and the algorithmic age, the imagination economy. For a man who may spend much time in his head, it is impossible not to feel his heart in these pages.
Hard cover: 600 pgs. approx. Year: 2024 Language: English & Spanish Edition: 900 copies
Click HERE to purchase ESCIF’s “The Foundations of Harmony and Invention”
In New York and Miami and across the U.S., stories of legitimate struggles with the healthcare system are a constant backdrop to everyday life. Someone you met can’t afford insurance. Someone else is battling their insurer to approve a critical procedure. Surprise medical bills arrive for your girlfriend without warning. Your coworker avoids the doctor altogether because the costs are prohibitive. Teachers face medical bankruptcy, parents delay surgeries, and families turn to GoFundMe campaigns to defray crippling medical costs not covered. Meanwhile, seniors ration medication, cutting pills in half to make them last. It’s a system where multi-billion-dollar corporations, shielded by their (paid) influence over government, operate with impunity, leaving the sick ill-equipped to challenge them.
This backdrop of frustration likely fueled the sharp sarcasm and bitterness that erupted in conversations on social media and on the street after the UnitedHealthcare CEO was shot and killed on a Manhattan sidewalk this week. A young man in a hoodie fled the scene on a bicycle. Hundreds, no, thousands of responses on platforms like Twitter included jabs such as, “My empathy is out of network” and “Thoughts and prior authorizations.” UnitedHealthcare’s Facebook page was inundated with thousands of comments mocking the company’s public statement of sorrow. Many appeared to post pictures of family members or rejection notices they received from United Healthcare, their addresses blacked out.
To be clear, ‘denial of care’ is not just a business or policy practice; it is a systematic design rooted in contempt for people. These practices profoundly impact millions of people, possibly you and your family.
Now, five days later, the FBI joined the NYPD search for the suspect, who is believed to have left New York. Yet in laundromats, bars, and online forums, some people quietly invoke phrases like “snitches get stitches,” a colloquialism from hip-hop culture discouraging cooperation with law enforcement.
Critics in the media have rightly denounced the ethics of vigilante justice. At its core, vigilantism threatens to unravel societal order. Yet, so does a society that lets a profit-driven industry determine which sick lives are worth saving. The bitter truth is that for many, the system already feels unraveled.
Miami, we love you. This week was great at Wynwood Walls and Museum of Graffiti, and in the streets of Wynwood. The new STRAAT Catalogue is shipping on Christmas – and our Editor in Chief is one of the authors along with great folks like Carlo McCormick, Christian Omodeo, and Charlotte Pyatt. Most importantly, we cannot tell you how much we enjoyed meeting BSA readers and receiving your feedback and support. There are so many talented, creative, brilliant minds on this trip, and we like meeting each and every one. Don’t be shy! Thank you sincerely.
Shout out to our hosts at MOG Alan Ket and Allison Frieden, to David Roos from STRAAT, and to artists Nina Falkhoff, and HOXXOH.
Here’s our weekly conversation with the street, this week in New York and Miami, featuring: Retna, Adele Renault, Inkie, Werds, Pez, Astro, HOXXOH, Zimer, Kern, 1457 Wave, Juju the Frog, Trek86, Ishmael Book Art, Shey Lunatic, KTAN086, Code-E, and Z. Veiz.
Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón. 2018
“Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora” by Jessica Nydia Pabón-Colón provides an insightful look into the world of women graffiti artists, challenging the perception that graffiti is a male-dominated subculture. This book highlights the contributions of over 100 women graffiti artists from 23 countries, showcasing how they navigate, challenge, and redefine the graffiti landscape.
From the streets of New York to the alleys of São Paulo, Pabón-Colón explores the lives and works of these women, presenting graffiti as a space for the performance of feminism. The book examines how these artists build communities, reshape the traditionally masculine spaces of hip hop, and create networks that lead to the formation of all-girl graffiti crews and painting sessions. This aspect is particularly useful in understanding how digital platforms have broadened the reach and impact of women graffiti artists, facilitating connections and collaborations worldwide.
MARTHA COOPER LIBRARY: BOOK RECOMMENDATION
📖 | Title: Graffitti Grrlz: Performing Feminism in the Hip Hop Diaspora 📚 | NYU Press; 1st edition (June 22, 2018) 🖋 | Authors: Jessica Nydia Pabón-Colón 💬 | Language: English
Elisa Capdevila has turned the walls of Barcelona’s Paral·lel into a living history lesson with her latest mural, a tribute to the former Teatro Talia. Once a cornerstone of the Sant Antoni neighborhood’s cultural identity, the Talia has long since been erased from the cityscape, but its memory is revived through this large-scale artwork. Situated near the theater’s original location, the mural was curated and produced by Street Art Barcelona as part of the ongoing ‘Sant Antoni Recuperem el Talia’ initiative. According to the organizers, the project became a testament to collective memory and community-driven art after weather-related delays.
The mural portrays a backstage moment at the close of a performance, an actress wiping away makeup as the curtain falls. Capdevila, a Barcelona native, draws a poignant connection between the end of a show and the theater’s closure. Collaboratively designed with local groups, the mural amplifies feminist themes, celebrating the overlooked contributions of women in both the performing arts and grassroots activism. The imagery speaks directly to the community’s fight to preserve the cultural relevance of the Talia while advocating for affordable housing and public spaces on its historic grounds.
Beyond the mural’s visual impact, the temporary cultural space it overlooks serves as a gathering point for play and small events—a reminder of the Paral·lel’s former vibrancy, now surrounded by the shifting tides of gentrification. Capdevila’s new work serves as an homage to the past and perhaps a rallying cry for the future.
The collaborating community organizations include:
– Plataforma Sant Antoni recuperem el Talia – Associació Pro Teatre Talia Olympia – Teatre Arnau Itinerant – Federació d’entitats de Calàbria 66
– Centre Cívic Cotxeres Borrell – Vocalía de feminisme barri de Sant Antoni – Fem Sant Antoni – Taula Comunitaria Sant Antoni – AVV Barri de Sant Antoni – De Veí a Veí – Escola Aldana – Comunitat de veïns de los dos edificios (Avenida Paral·lel y C/Comte Borrell)
December has arrived, and with it, a fresh blanket of snow setting the holiday scene up north—perfect for some, but for us, it’s a sign to head south. Art Basel Miami Beach is calling, and the Wynwood District is already buzzing with street artists and weird, wired, and abundant creative energy. It’s shaping up to be another epic graffiti/street art family reunion.
If you’re in Miami, come say hi! We’ll be at the Museum of Graffiti on Tuesday for the launch of the new STRAAT Museum catalog straight out of Amsterdam. Joining us are the directors of both museums and artists from the STRAAT collection—including one repping Miami. It’s a rare honor to be among the creators, archivists, and storytellers who are not just making art but protecting its legacy.
As we introduce these two vibrant young museums to one another, we can’t help but feel excited about the collaborations and connections that might emerge. See you there!
Here’s our weekly conversation with the street, this week in New York and Berlin, featuring: Miki Mu, CMYK Dots, Fruity, AERA, CAZL, How to Kill a Graffiti, EIG!, Quo Vadis Art, BEAT, AMIR, Matthias Gephart, Mr. Ent, Andres Reventolv, Lucille, and Ordinario.
Book review by Steven P. Harrington & Jaime Rojo/Brooklyn Street Art. Martha Cooper Library
Martha Cooper. Tokyo Tattoo 1970. 2012.
In “Tokyo Tattoo 1970,” photographer Martha Cooper, well-known for her definitive work on New York City’s graffiti scene, applies her ethnographic skills to document traditional Japanese tattooing. This book provides a clear and respectful portrayal of a secretive and highly specialized art form, preserved in black-and-white film photography. Through Cooper’s lens, readers gain access to the traditional techniques and cultural narratives embedded in Japanese tattoo art, offering insights into an art form that was largely inaccessible during the early 1970s.
Book Review by Steven P. Harrington & Jaime Rojo / Brooklyn Street Art for the Martha Cooper Library at Urban Nation Museum, Berlin, Germany.
“NeSpoon,” a monograph on the work of the Polish artist, provides a comprehensive examination of her unique integration of lace patterns into urban and natural landscapes. The book, limited to 111 copies, each spanning over 420 pages, showcases the artist’s extensive portfolio and delves into the anthropology, cultural, and historical significance underlying her chosen medium.
“Why lace? It just came to me. Lace chose me, not the other way around. I’ve never liked lace. Before I started working with it, I thought lace was something old-fashioned, from a grandmother’s dusty apartment. Today it seems to me that each lace harbors harmony, balance and a sense of natural order. Isn’t that just what we are all searching for instinctively?”
~ NeSpoon
NeSpoon revitalizes the traditional craft of lace-making, tracing its roots back to the mid-sixteenth century in Venice and Flanders. This blend of past and present is a recurring theme in her art, as she applies centuries-old designs to contemporary settings. Beyond aesthetic enhancement, her projects aim to instill harmony and natural order—qualities she believes are inherent in lace patterns. CLICK URBAN NATION BERLIN TO CONTINUE READING.
Text: Steven P. Harrington and Jaime Rojo, Photos: Sebastian Kläbsch
Aunt Marge is on the phone to see if your mom can locate the recipe for the cranberry relish dish that she made last year – the one with the grapefruit and fresh ginger. While you’re talking to her she reports that your quirky cousin Kinnisha has just announced that she is a vegan so she won’t be eating any animal products at Thanksgiving this Thursday. Not a big surprise.
We’re making sweet potatoes with marshmallows melted on top; what are you bringing? Don’t forget that dinner is at 12 noon this year because Juan and Erica and their new baby have to go to his parents for a second Thanksgiving dinner at 4 pm – and that’s all the way in Jersey.
Speaking of food, the jokes write themselves sometimes in the headlines this week – Just as the President-Elect says that he’ll announce a state of emergency to boot out illegal immigrants, bottom-line-conscious Americans who are already stretched too thin financially are learning how this action may impact prices at the store and across the economy.
Some folks are concerned that raising tariffs will cause companies to cancel Christmas bonuses because they need to buy up supplies before tariffs hit – which doesn’t sound very Christmassy. Nor does Walmart’s announcement this week that they may need to raise prices if those tariffs happen in the new year.
Aren’t you supposed to wait until your candidate has been sworn into office before having buyer’s remorse?
Also, according to conversations on Twitter this week, many folks didn’t realize that the evil Obamacare is the same thing as their prized ACA health insurance. Huh. Who knew?
Meanwhile in New York we are excitedly looking for newly financed housing thanks to the Mayor, and the NYC Documentary Festival had great screenings this week: One that examines our city’s 1970s chaotic bankruptcy and corruption called Drop Dead City(spoiler; the city had no accounting books), and one called Slumlord Millionaire. New York is always a love/hate romance, no?
Meanwhile, the current president is giving ‘permission’ to Ukraine to use long-range weapons deep into Russian territory. Great way to kick off a legacy before you leave office! What could go wrong?
This week, we’ll ignore all that when we line the streets for the Annual Thanksgiving Day Parade through Manhattan. Hope its not too windy for those massive balloons and that Santa shows up at the end of the show! Also, keep your eyes open for hot, blushing babes in ribbed turtlenecks and Santa hats on streets, subways, Knicks games at the Garden, on the skating rinks in Central Park, Bryant Park, and Rockefeller Center. Something about the holidays melts hearts, even though it’s freezing outside. Wishing you all the best – stay safe and warm, say hi to Aunt Marge for us, and keep your eyes open for stupendous street art and graffiti.
Here’s our weekly conversation with the street, this week featuring: John Ahearn, Atomik, Cody James, Great Boxers, Carnivorous Flora, Alex Face, Felipe Umbral, LeCrue Eyebrows, Zimer NYC, Julia Cocuzza, JKE, Fern El Pepe, and Katya Gotseva.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
