“Ostend isn’t a metropolis like London, Berlin and Paris” explains Belgian art curator Bjørn Van Poucke to reporter Colin Clapson. He’s referring to the limitation in the number of walls available for legal murals. He should know, he’s responsible for The Crystal Ship, a contemporary art festival that has taken place in this coastal city since 2016 and has become one of the most significant street art festivals in Europe, attracting renowned artists from around the world.
“Ostend certainly has an impressive collection of street art with a wide variety of large and small pieces painted on all kinds of residential and commercial buildings,” says renowned photographer Martha Cooper, who was invited there by Mr. Van Poucke this year. “There’s a good paper map available at the tourist office and also an excellent website so people can find the walls,” says Cooper.
Every year the Crystal Ship invites a diverse range of international artists to create large-scale murals and public art installations throughout the city – names have included well-known and regarded artists like Miss Van, Alexis Diaz, and Fintan Magee – each bringing their own aesthetic to this festival/event that receives support from a mix of private and government funding that is local and national. For more about the past artists, you can check out The Crystal Ship website. Many of these artists’ work can also be found in Ruby Gallery, where Van Poucke and co-owner Thierry Dubois organize exhibitions on canvas.
In the past, the festival has showcased over 60 murals and art installations, and many are spaced far from one another, so Ms. Cooper tells us she had an excellent driver named Lorre Soenen to take her around. “He was very knowledgeable about the murals,” she says.
“Bringing people closer to art is the aim of The Crystal Ship” explains Mayor Bart Tommelein on the VRT news website. “It happens at the heart of the city, on walls at the centre of neighbourhoods, where people live and work.”
They used to run from the Vandal Squad in this
neighborhood. Now people pay to see their art here.
Through the expansive glass wall on the 6th floor you can look down Kent Avenue to see the spot where a monster pickup truck with a heavy chain tied around a FAILE prayer wheel almost jackknifed on the sidewalk, gave up and sped away. Not that many Brooklynites saw that event in the 2000s – nobody walked here and few people drove through Williamsburg then except truckers looking for street walking ladies wearing high heels and spandex. Oh, and a serial killer.
Now visitors buy tickets to see a circular colonnade of FAILE prayer wheels here at 25 Kent – including the real estate developers and Wall Street professionals who displaced the community of artists whose work made the neighborhood attractive and “edgy”.
Along with Street Artists in this exhibition like Shepard Fairey, Bast, Swoon, Invader, Aiko, Dan Witz, Katsu, 1UP, and Lister, the FAILE duo put completely illegal artworks on walls under cover of night and threat of arrest in this same neighborhood then – transforming it with many others who are not in this show into an open gallery of the streets, placing Williamsburg on the map as New Yorks’ epicenter of the newly emerging Street Art scene.
As graffiti and Street Art are migratory and necessarily elusive by nature, this story is only one chapter in a volume of history that serious academics are now reconstructing and analyzing. With each passing year and published white paper, the practices of 20th century public mark-making are being examined in greater detail for archiving and for posterity. Not surprisingly, institutions, patrons, collectors, and brands are increasingly interested in this story as well.
When it comes to the anarchic subculture of illegal
street art practice and its influence on society, there are non-stop ironies
sprayed en route from verboten to Vuitton, and street culture has supercharged
the imagination of the mainstream and high culture throughout history – that’s
where the best ideas come from sometimes. Many seminal artworks from “the
scene”, as it were, represent much more than what you are seeing at first
glance. As art and cultural critic Carlo McCormick has described the iconic
Shepard Fairey ‘Hope’ image in Art in
America, many graffiti and Street Art works saved are “not a
fleeting pop-culture sensation but simply the latest crossover hit in a long
line of underground classics.”
The wide-ranging survey that is Beyond the Streets makes sure that you know where the roots are, and who many of the pioneers were. It is impossible to tell a complete story that includes scenes as diverse as west coast Chicano muralism, hobo graffiti, hip-hop commercial design, NY downtown artivism, Japanese low/hi contemporary, skateboard, tattoo, early train writing and a current romance with muralism, but BTS at least gives a serious consideration to each and offers you the opportunity to look further into them.
With the help of photography documentation from people like Martha Cooper, Henry Chalfant, Jim Prigoff, Lisa Kahane, Joe Conzo, John Fekner, Bill Daniel, Maripol, and Dash Snow, the crucial importance of this work provides needed interstitial and contextual information that enables myriad stories to be elucidated.
Exhaustive, no. Exhausting, possibly. Pace yourself.
“I
spent my life surrounded by graffiti and Street Art,” says the shows’ director
Roger Gastman “and you could say that I have been obsessed with understanding
the culture, its origins, and its evolution. It’s incredible to me how far it
has come.”
With 150 artists whose practices span five decades
and various (mainly) American subcultures displayed in a maze of new walls in
this 100,000 sf, two-floor exhibition, the Beyond the Streets senior curatorial
team includes Gastman, filmmaker/ graffiti historian Sacha Jenkins SHR, Juxtapoz
Editor in Chief Evan Pricco, and author/ graffiti historian / graffiti writer David
CHINO Villorente. Each curator brings core competencies and knowledge of the
graffiti scene (Gastman, Jenkins, Villorente) as it has evolved to include the
Street Art practice and an eventual move toward contemporary art (Pricco).
“It’s absolutely phenomenal,” says Villorente, who says his history as
a graffiti writer compounds the impact for him. “I was glad that the show was
coming to New York because I was born and raised in Brooklyn. I couldn’t have
imagined it – especially when I think back on when I was writing on the trains
and doing illegal graffiti. To have of show of this magnitude is really
special.”
“We started writing in ’68 and here we are, fifty-one years later,” says Mike 171 as he gestures toward himself and crew writer SJK 171 when talking about how they began and continued writing their tags on the street in New York City. “This is the history right here,” he says, and you know you are about to be schooled about the plain realities of early graffiti writing. At the opening, you witness each guy tagging in a large dusty window here and realize the love for writing never actually stops.
“We were expressing something that was inside of us,” says SJK 171. “The streets were like ours,” he tells you against a backdrop of their work, Cornbread’s work, and of images full of one color, single line monikers that set the stage for the more colorful, character-driven pieces and burners a decade later, transforming trains into a rolling aesthetic symphony by the mid 1970s.
One of the actual “whole car” writers of that period, Lee “LEE” Quinones, here recreates a “Soul Train” car side on a canvas that looks like it could easily wrap an actual MTA #2-line car that he used to slaughter with cans in the middle of the night at the train yard. When describing the new work he said he was intentionally keeping it simple – perhaps owing the style to his earlier practice.
“I think this is one of Lee’s most amazing pieces,” says Charlie Ahearn, the director of the seminal 1982 “Wild Style” film that Quinones stars in. Ahearn self-produced that film which became an important distillation of the merging of graffiti with hip-hop culture during a pivotal moment in the history of both. Now also a professor of Hip-Hop, art, design, and documentary film making at Pace University, Ahearn is familiar with many of the artists work here, many relationships reaching back decades. “I told Lee that I liked that it was a one-off, that he painted all the color straight off without the embellishment, texturing, and all that stuff.”
Charlie’s twin brother John Ahearn is represented here popping out from walls as well, his sculptures serving as authentic portraits of people you may easily have seen on New York streets over the last four decades. Casted directly on top of the people themselves in a technique he has perfected, the placement of the sculptures gives life to the space.
The individual clusters of work and canvasses by 1970s-80s train painters like Futura, Crash, Lady Pink, Freedom, Carlos Mare, Blade, Haze, and Daze and next gen graphic painters like Doze Green and Rime are complemented by a number of so-called “immersive” spaces here like the Mission Schools’ Barry McGee storefront with smashed window, and the Australian Pop duo Dabs & Myla’s eye candy floral walls with thousands of artificial fauna created in collaboration with Amelia Posada.
The high-profile graphic activist Shepard Fairey’s 30 year career overview takes a large area and encompasses all elements of his street and studio practice, and Bill Barminski’s cardboard home is open for you to explore with a wry smile, remembering the security room installation he did at Banksy’s Dismaland a couple years earlier.
You’re
also treated to a full rolling wall of Craig Stecyk posters that brings you the
sun and surf of California skate culture, sculptures by Mr. Cartoon and Risk, a
kid-friendly illustrated room with crafting supplies for young fans on tables
from HuskMitNavn, and an astute freight train culture educational display by
writer/painter/sculptor Tim Conlon (complete with a mid-sized Southern Pacific freight
on train tracks he and friends built), prints/photos by historian Bill Daniel, and
original drawings by the man some call the King of Hobo Art, buZ blurr.
“These
are a self portrait as predicated on a first Bozo Texino person and I kind of
changed the image around,” says Mr. blurr, a legendary figure in denim
overalls, as he patiently describes his classic tag image of a railway cowboy.
“It
is a writer motif – the pipe smoke is going up and then it is trailing back to
signify movement as the train goes down the track,” he says. “I worked in the
train yards and my job was as a brakeman. I had a little free time so I started
making drawings. I made my first one on November 11, 1971,” he says as he
recalls the state of mind that he was in at the time as he began to tag
freights with the image and text that came to him clearly – and may have
perplexed other travellers.
“They
came from a confused state. I was questioning everything. I was putting kind of
cryptic messages under my drawings. It was anybody’s guess as to its literal
interpretation. I addressed some of them up to specific people but whether they
saw them or responded to them, I wouldn’t have any idea.”
“When
it’s shipped in the crate its 550 pounds,” says Conlon as he stands by the 3-foot
high freight car re-creation on tracks and ties that is
hit with a couple of wild and colorful graffiti burners. “Here I’m going to
show you something,” he says as he pulls back the roof to reveal the narrow
coffin interior in rusted red. “So I’m going to hide some beer in here during
the opening party. This is like the fifth one of these I’ve made,” and he proudly
confides that one lives in the house of Robert Downey Jr.
Digging Deep to Take Risks
Not content
to rest on laurels and previous formulas of success, the show keeps a freshness
by presenting known entities pushing themselves further and taking creative risks;
a reflection of that spirit of experimentation we have always prized on the
street.
Graffiti
writer Earsnot from Irak crew, now known professionally as Kunle Martin, said
he had been making work for the gallery containing elements of graffiti, but
felt they were too “safe”.
“Then my friend Dan said ‘you should go back to doing drawings,’” he says as he stands before figurative canvasses in black and white on cardboard. “I said ‘I can’t! It’s too hard! But eventually I began working in my studio five days a week, and I made enough for a show.”
Reflective of the attitude of Gastman toward artists in the community, he told Martin that if he made enough of them, he could place them in this show. “I think he was happy to hear that I was in my studio working. He’s been very supportive of it.”
A fluorescent
color-drenched graphic/photographic collage style is featured with plenty of
space in large frames from Chicago’s Pose, who says he is letting photography
and geometry lead him away from his previous pop collage style that may have reminded
many of Lichtenstein. His inspiration here comes from his research into early
photos of graffiti writers running from police “I was
obsessed with John Naars photos and I have usually Norman Mailer as in
inspiration. Some of these photo references are from the Philadelphia Inquirer,” he says.
New York’s Eric Haze also dares himself to take a new direction with three canvasses featuring a refracted piecing-together of imagery and memories of this city in monochrome. Based on black and white scenes of the city by photographer and NYC taxi driver Matt Weber, the scenes capture aspects that are culled from imagination and impression. The centerpiece canvas captures an iconic piece of the Williamsburg waterfront that has been removed in the last few years by developers; the signage of the old Domino Sugar factory by the Williamsburg Bridge.
Mr. Haze said he meant it as a gift and tribute to
his wife, actress and longtime resident of the neighborhood, Rosie Perez who
used to see it along Kent Avenue as a kid. “He’s not afraid to take risks. He’s not afraid to go in the
studio and express what’s inside of him. When he brought me to the studio, he
says, ‘I have a surprise for you’,” she remembers. “I saw the beginnings of the
Domino painting and I was stunned into silence and I got teary-eyed.”
An expanded version of the show that first mounted
in Los Angeles last year, the collection is focused a great deal on the
American history of graffiti with a balance of East/West coast graffiti history
– in a way that may remind you of 2011’s “Art in the Streets” at LA MoCA. That
makes sense, considering Gastman co-curated that show as well.
“It’s both a historical and current look at where
the culture went and where it started and how widespread it is,” says
co-curator Evan Pricco, who perhaps provides a lynchpin view toward the big
name Street Artists who continued to push expectations in the 2000’s on streets
and in commercial galleries around the world. “With the space spread over two
floors it has a way better curatorial sense. I also think it does compete with
museums because it shows that this kind of work is on the same level. You kind
of have to present it in a way that feels very institutional and archival.”
So is Beyond the Streets
a graffiti show or a Street Art show or a contemporary art show? For artist
Kenny Scharf, who first gained attention during the heyday of Downtown
Manhattan’s art scene that benefitted from an interlude where rents were dirt
cheap and Wall Street was on a cocaine high, there is no need to categorize
what kind of art this is.
“You know I never liked labels or titles anyway so
even back in the early 80s I was pegged like ‘oh you’re a graffiti artist,’” he
says. “People feel the need to title and label so I’ll
let them to continue to do that but I don’t fit into any of them and I don’t
want to. I want to fit into all of them and none of them.”
Beyond the
Streets opened June 21 and continues through the summer.
Martha Cooper’s work as exhibited at Beyond The Streets New York
Beyond The Streets NYC is now open in Williamsburg, Brooklyn to the general public and will run until August 2019. Click HERE for schedules, tickets and details.
Gastman’s Massive Graffiti and Street Art Show Arrives at Epicenter.
“I’m really excited to bring this show to New York,” says curator, graffiti historian and urban anthropologist Roger Gastman, “because the city plays such a pivotal role in the origin and evolution of the culture. The iconic images of covered subway cars made graffiti famous worldwide.”
He’s talking of course about “Beyond The Streets” the hybrid exhibition that he mounted in LA last year featuring the work of 150 who have proved to be pivotal to the evolution of a fifty year global people’s art movement that includes graffiti, street art, and urban contemporary art. Filling over 100,000 square feet of new space in Brooklyn, this two-floor cross-section survey will feature artworks by many of the same vandals, graffiti writers, Street Artists, and art activists who hit NYC streets, created dialogue with passersby, and were sometimes chased by the authorities. To see them showcased here is to recognize that there is not just one route to take – in fact there are many.
“We have an incredible roster of artists for New York,” Gastman tells us, “and a brand new space in Williamsburg that has a stunning view of the Manhattan skyline as our backdrop.” Notably the lineup includes artists whose work BSA has documented on the streets in this very same neighborhood over the past two decades, including Shepard Fairey, Faile, Swoon, Bast, Invader, Aiko, and others. Ironically the appearance of free-range Street Art in the neighborhood has been seriously diminished since that time.
The exhibition is one more verification that a significant portion of the scene is being widely recognized for its cultural contribution and value in the contemporary art canon – a significantly fluid scene fueled by discontent and a desire to short-circuit the established routes to audience appreciation. Like large survey shows elsewhere, the takeaway is the significant impact street culture and its tangential subcultures continues to have on the culture at large.
Gastman says the New York version of “Beyond The Streets” will take an
additional interest at the role of music and art activism on the street, along
with immersive installations, a tattoo parlor, a special Beastie Boys
installation with artifacts and ephemera, a new 30th Anniversary
Shepard Fairey project “Facing The Giant: 3 Decades of Dissent,” and large
scale works by Gorilla Girls, Futura, Cleon Peterson, and Takashi
Murakami.
More news coming on programming and events, but the important opening date to know right now is June 21st.
“All in all, it will make for a really special show this Summer,” says Gastman.
BEYOND THE STREETS TEAM
Curator: Roger Gastman
Co-Curators: Sacha Jenkins SHR, Evan Pricco, David CHINO Villorente
A-ONE, AIKO, Al Diaz, Alexis Ross, Alicia McCarthy, André Saraiva, Barry McGee, BAST, Beastie Boys, Bert Krak, Bill Barminski, Bill Daniel, BLADE, Broken Fingaz, Buddy Esquire, buZ blurr, Carlos Mare, Carl Weston, Cey Adams, C.R. Stecyk III, Charlie Ahearn, Chaz Bojórquez, Claudia Gold, Cleon Peterson, COCO 144, Conor Harrington, Corita Kent, Craig Costello, CRASH, DABSMYLA, Dan Witz, Dash Snow, DAZE, DEFER, Dennis Hopper, Dondi White, Doze Green, EARSNOT, Estevan Oriol, Fab 5 Freddy, FAILE, Faith XLVII, Felipe Pantone, FREEDOM, FUTURA 2000, Gajin Fujita, Glen E. Friedman, Gordon Matta-Clark, Guerrilla Girls, HAZE, Henry Chalfant, Herb Migdoll, Husk Mit Navn, INVADER, Jane Dickson, Jason REVOK, Jean-Michel Basquiat, Jenny Holzer, Jim Prigoff, John Ahearn, John Fekner, John Tsombikos, Joe Conzo, José Parlá, KATS, KC Ortiz, Keith Haring, Kenny Scharf, Kilroy Was Here, LADY PINK, LAZAR, LEE Quiñones, Lisa Kahane, MADSAKI, Maripol, Mark Gonzales, Mark Mothersbaugh, Martha Cooper, Matt Weber, Maya Hayuk, Michael Lawrence, MIKE 171, MISS 17, Mister CARTOON, Nina Chanel Abney, NOC 167, Pat Riot, Patrick Martinez, Paul Insect, POSE, PRAY, Rammellzee, Randall Harrington, RETNA, Richard Colman, Richard Hambleton, RIME, RISK, Ron English, Ruby Neri, SABER, Sam Friedman, SANESMITH, Sayre Gomez, Shepard Fairey, SJK 171, SLICK, SNAKE 1, SNIPE1, STAY HIGH 149, Stephen Powers, SWOON, Takashi Murakami, TAKI 183, TATS CRU, TENGAone, Tim Conlon, Timothy Curtis, Todd James, Trash Records, UGA, VHILS, and ZESER
The show is developed in partnership with Adidas and Perrier. Additional support provided by Modernica, Montana Colors, NPR, NTWRK, Twenty Five Kent and WNYC.
Of the thousands of images he took this year in places like New York, Berlin, Scotland, Hong Kong, Sweden, French Polynesia, Barcelona, and Mexico City, photographer Jaime Rojo found that Street Art and graffiti are more alive than every before. From aerosol to brush to wheat-paste to sculpture and installations, the individual acts of art on the street can be uniquely powerful – even if you don’t personally know where or who it is coming from. As you look at the faces and expressions it is significant to see a sense of unrest, anger, fear. We also see hope and determination.
Every Sunday on BrooklynStreetArt.com, we present “Images Of The Week”, our weekly interview with the street. Primarily New York based, BSA interviewed, shot, and displayed images from Street Artists from more than 100 cities over the last year, making the site a truly global resource for artists, fans, collectors, gallerists, museums, curators, academics, and others in the creative ecosystem. We are proud of the help we have given and thankful to the community for what you give back to us and we hope you enjoy this collection – some of the best from 2017.
Brooklyn Street Art 2017 Images of the Year by Jaime Rojo includes the following artists;
Artists included in the video are: Suitswon, Curiot, Okuda, Astro, Sixe Paredes, Felipe Pantone, Hot Tea, Add Fuel, Hosh, Miss Van, Paola Delfin, Pantonio, Base23, R1, Jaune, Revok, Nick Walker, 1UP Crew, SotenOne, Phat1, Rime MSK, Martin Whatson, Alanis, Smells, UFO907, Kai, Tuts, Rambo, Martha Cooper, Lee Quinoes, Buster, Adam Fujita, Dirty Bandits, American Puppet, Disordered, Watchavato, Shepard Fairey, David Kramer, Yoko Ono, Dave The Chimp, Icy & Sot, Damien Mitchell, Molly Crabapple, Jerkface, Isaac Cordal, SacSix, Raf Urban, ATM Street Art, Stray Ones, Sony Sundancer, ROA, Telmo & Miel, Alexis Diaz, Space Invader, Nasca, BK Foxx, BordaloII, The Yok & Sheryo, Arty & Chikle, Daniel Buchsbaum, RIS Crew, Pichi & Avo, Lonac, Size Two, Cleon Peterson, Miquel Wert, Pyramid Oracle, Axe Colours, Swoon, Outings Project, Various & Gould, Alina Kiliwa, Tatiana Fazalalizadeh, Herakut, Jamal Shabaz, Seth, Vhils, KWets1, FinDac, Vinz Feel Free, Milamores & El Flaco, Alice Pasquini, Os Gemeos, Pixel Pancho, Kano Kid, Gutti Barrios, 3 x 3 x 3, Anonymouse, NeSpoon, Trashbird, M-city, ZoerOne, James Bullowgh, and 2501.
Cover image of Suits Won piece with Manhattan in the background, photo by Jaime Rojo.
This week BSA and Urban Nation (UN) are in Hong Kong for the 4th edition of HKwalls to capture a very international and local mix of artists in this East/West nexus; a world-class city for art and culture, English and Cantonese, hi-tech and traditional methods – all during the enormous Art Basel week. We’ll bring you the new walls, some previous pieces, some graffiti, stickers, and a whole lot of color from this fast moving and dynamic city on the Pearl River Delta of East Asia.
Certainly Hong Kong got a little richer this week – not that it needed it. Of course we mean richer in the sense that more artworks and appreciators have been coursing through the streets, the art fairs, galleries, the back alleys, roof top gardens and even a terrace or two. The most satisfying aspect of being a part of a worldwide grassroots people’s art movement like Street Art/Urban Art/graffiti is that you will always find someone you know along this continuum of practices.
Anyway, a particular thrill this week was seeing it on the street – and on the art-fair wall. Some times the same exact image. We didn’t actually hit any museums but we did see Swoon in the alleyway and represented by a gallery. Same with Cleon Patterson. We saw Vhils work in his studio and in Art Central fair – and you can also catch it on the side of the International Hong Kong School – and once in a while it is on a wall of plastered posters in the city. Os Gemeos at Art Basel is a great find, but we didn’t see any of their yellow fellows on the streets.
Thorny questions arise for some – by way of pointing out that when you catch an un-permissioned tiled Street Art piece by Invader on the wall in public here it is no more than an advertisement for the one at his gallery in the art fair, a sign of the final deleterious stages of a free-spirited untarnished proletariat art practice now corrupted by capitalists, sold out.
Yes, got it. Also, remember that since it’s earliest days, graffiti and Street Art have often been about fame and burning one’s name into the minds of many – why else would you sign your piece? You may even use your name as the art itself.
Additionally you can see a fresh Swoon for no money at all in the street. At the art fairs or museums, not so much.
Here’s our weekly interview with the streets, this week featuring: Barlo, Caratoes, Cleon Paterson, Crafty Cow, Faust, Invader, Jimmy Paint, MSK, Rukkit, Shepard Fairey, and Swoon.
Of course it was not all about spectacle this week in Miami, but about tribes and community as well. Many conversations with artists on the street and at openings revolved around this chaotic/fearful time we are living in – and it seemed like if you weren’t discussing the incoming president and offering predictions about what fresh hell this time will bring, you were trying hard to avoid the topic altogether.
There were talks this week about activism or the lack of it on the street, relevance of the work of artists in the body politik, paint supplies, ladders, Tindr, licensing, how Pete Rock and CL Smooth blew everybody away late Friday night with the Bushwick Collective, how murals are not to be confused with Street Art and Street Art is not to be confused with graffiti and of course the evergreen “Is Street Art Dead?” – which has popped up as a topic about every 3 months since it was coined. Answer: no sight of it yet, but we’ll let you know if it stops mutating and shapshifting and re-defining itself. Promise
Without repeating some of the images from our previous postings this week, here’s our weekly interview with the street, this week featuring 2Alas, Bordalo II, Caratoes, Cleon Peterson, CRASH, Dan Witz, D*Face, Don Rimx, Evoca, Fluke, Hoxxoh, Jules Muck, L’Atlas, Okuda, Pez, Shepard Fairey, Shida, Shok1, and Sipros.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. “What If You Fly” Sean Yoro AKA HULA
2. Herakut in Paris for “100 Walls for Youth” 3. Cleon Peterson: “Endless Sleep” at the Eiffel Tower 4. The Yok & Sheryo “Ping Pong Auto Shack” Murals In The Market 2016 /1xRUN/Detroit
BSA Special Feature: “What If You Fly” Sean Yoro AKA HULA
This is outdoor painting that tests concepts of precariousness, ephemerality, temporality.
“It’s too bad that it didn’t last but that’s the way the world works. Not everything lasts very long,” says Inuit native Jesse Mike of the experimental portrait by Hula on a floating chunk of ice.
“One of my main priorities for working outside is to interact with the environment,” says the artist lying on a small raft of snow bobbing gently in ice cold water – his painting literally mixed into the snow next to him.
This is painting in the arctic, in between the drift ice and the main pack ice. Before it melts.
Herakut in Paris for “100 Walls for Youth”
A fascinating intermingling of realism, fantasy, and poetry, the composition features a helmeted youth sees a winged horse in the sublime otherworld that children so easily inhabit. Part of the 100 Walls for Youth program just begun with Street Artist C215, this wall also neatly aligns with the upcoming exhibition of the artists at the gallery November 25th
Gautier Jourdain, co-owner of Mathgoth, tells us that Jasmin (Hera) and Falk (Akut) looked no further than the streets of Paris for inspiration. “They asked a student who passed by in the street if she would like to be a model for their painting. She said yes and they took pictures and used them for direct reference.”
Cleon Peterson: “Endless Sleep” at the Eiffel Tower
Cleon Peterson tells the story of how he developed “Endless Sleep”, his painting at the base of the Eiffel Tower in Paris during the Nuit Blanche festival.
The Yok & Sheryo “Ping Pong Auto Shack” Murals In The Market 2016 /1xRUN/Detroit
Those Krazy Kids from Singapore and Down Under somehow have landed in Detroit briefly and have decided to Shack Up. Sexy ladies, devils, and tattoos all mill about.
D.I.Y. Cartography in the Rawest Section of Somerset
Street Art is intrinsically bound with its neighborhood and location in a city. Context and placement are key, establishing its relation to a place. So when a Street Artist is asked to create art about mapping a place, it is fascinating to see how they perceive it and with what manner and medium they present it.
In a new exhibition opening in London this month, the time honored study and practice of cartography ventures into the conceptual as well as the physical, and we find that for many artists the street is as much about poetry and perception as it is about aerosol and wheat-pasted paper.
“Mapping the City”, now going up at the Somerset House presents the work of 50 artists whose roots lie in creating work for the urban space, one defined by paved streets configured by planners and traversed by citizenry. More than this the artists here broaden the job description of cartographer to one who captures energy, movement, emotion, imagined storylines and life paths.
With ubiquitous smart phones at the ready we increasingly find that mapping the world has become a given, removing some of its mystery. The tracking of GPS is joined by the physically surveying Google machine and countless public/private war/profit apparatus that have been loosed across and above the skin of the globe to trace all roads and streets, quantify topography, measure depths – even gauge the volume of rivers and density of forests.
And then there are the people. “The city is a living entity,” says Rafael Schacter, curator of the show from the arts organization A(by)P, who sees the city as something far more than a clever configuration of lines. “The city changes every day, every hour of the day. It is constantly modifying itself. And it is fully alive in the way it reacts and responds to our actions. It is endlessly fascinating in the same way humans are. They can be exhausting, they can be destructive. But they contain endless possibilities too.”
It’s this same immersion into street life that draws artists to create in public, and knowing how to accept and embrace its evolution is what brings the veterans back. MOMO literally painted many streets in one continuous line that formed the letters of his nom de la rue in a 2006 tag that spread across the bottom of New York’s central island and it is presented as a map in this show.
Brooklyn Street Art:One of the artists in your show, MOMO, created an enormous tag in Manhattan – although it was only legible when the route was retraced upon a map. Is he crazy? Rafael Schacter: He is crazy. A crazy genius. Although you still can see the marks he made on the streets of Manhattan years after he painted it! He recently re-walked the route and re-mapped the existing line. As I said; Crazy. Genius.
“Retracing the tag line was cool,” MOMO tells us. “What I noticed is how much new sidewalk cement has gone in – a lot of the line was eaten up by that,” he says, observing that a city is anything but static and often regenerative. “It is interesting how quickly a city replaces all of its cells,” he remarks about the ongoing repaving that characterizes the city. Were there more changes MOMO noticed in the 7 years between tagging? Yes. “Other stuff, like all the shiny new developments that are making Manhattan look like a mall.”
While there are some commonalities among the selected artists who are participating in this project, there is quite a variety of approaches to the street, as Schacter invited Street Artists, graffiti artists, public artists, designers, painters, illustrators, and billboard jammers. He says the multiplicity of interpretation was an intentional decision.
“For us, the most important thing was to have the whole range of artists we love and who are producing work in the public sphere included in the exhibition. As such, and as you say, it really is a very wide variety of artists, from graffiti bombers to conceptual artists, from muralists to urban explorers. With all of them, however, the crucial element within their practice is the public sphere, the richness of the city and urban space. This is the line that goes through all of their work, even if they may at first seem widely different.”
Chu, an Argentine Street Artist and muralist whose colorfully painted four paneled abstraction remixes and jumbles the lines and shapes and removes all text, his map is meant to communicate the kinetic nature of street life. “I tried to create a map of Buenos Aires marking my usual movements around the city. I am used to moving around it a lot, from one side to other, and sometimes it is really chaotic and stressful. However it is also really where I get a lot of inspiration.”
A viewer of Chu’s graphic representation may be reminded of map making software and apps – possibly because of his graphic design training and his work as an animation director and illustrator in the digital sphere. He says that his digital art experience has grafted onto his vision of the physical street, “especially because I am working with layers and some of my choices of shapes come from that experience.”
Even as a painter, you can see the influence of the digital design world in Chu’s map. He says that when he thinks of city streets, he does see in his mind an aerial view of them from up above, but there is much more.
“My artwork for the exhibition is a kind of aerial abstract view of the city,” says Chu, “When trying to understand the city street more mentally, I believe today, it is something more complex than it was before. It is like some kind of constellation or hypertext thing that grows up in all directions, with axis and tons of layers.”
Housed in a section of Somerset House that has been closed off from the public for 150 years, the new exhibit is also its first and most visitors will never have hiked through the still unpolished space. It seems like the perfectly shabby cream-colored raw environment that graff writers and Street Artists might feel comfortable making art for. “It’s in the process of happening,” says Schacter as the team moves around him and up ladders to place the maps and straddle patches of exposed wall. According to Rafael, even the ceilings of the 18th century rooms are being restored to their original splendor, “with Yak Hair in the plaster!”
Brooklyn Street Art:Will people need to follow a map to find this show in the new wing of the Somerset House? Rafael Schacter: Ha! Kind of. Our space hasn’t currently even got a name as it’s so new – and so old at the same time. We’re going to make big wooden arrows to make it clear but we kind of hope people get lost too, and then eventually find us!
Brooklyn Street Art:Not all participants strictly adhered to the realm of cartography in the conception or execution of their map. Brad Downey appears to have drawn a face. Imagine what you would have gotten if this was a show about clouds. Rafael Schacter: You’re right – the responses to our call for work has been super super varied. But that’s exactly what we wanted – that variety of work. We didn’t want just one understanding of the call, which was simply “map your space”. Brad’s work is about finding visuals within maps, whilst others have tried to find maps within visuals! It is all simply about a different appreciation of space from the one we see in the top down, topographic, scientific standard.
The Brooklyn Street Artist Swoon contributed one of her iconic images of a woman whose entire form is filled with what appears to be kutis and stilt houses along winding streets from top to bottom. Based on the Thai capital Bangkok, it is an example of the inner world Swoon is known for creating, reflective of a character’s history.
Brooklyn Street Art:It is always interesting to see a Swoon portrait that contains the city and the streets within the body of the subject, isn’t it? Rafael Schacter: There’s a great quote from Swoon about her work being about the desire to more carefully examine the “relationship of people to their built environment”. Her work here is a prime example of this, a work in which the body and the city become inexorably intertwined – the experience, as she says, “of becoming part of the fabric of the city” visually mapped out.
Brooklyn Street Art:Can you talk about the film/s you have discovered and will be showing that fall in with the theme of map-making? Rafael Schacter: The films we’re going to be showing are by a filmmaker named Marc Isaacs. They’re both set in London, both exploring the lives of “ordinary” Londoners. It is a very bottom-up, grass roots understanding of people’s lives. That is exactly what we’re looking to do in the show – to explore the subjective and the hidden nature of the city.
Brooklyn Street Art:Who will be doing an artist talk about the project? Rafael Schacter: We’re really excited about this. Our artist talk will be featuring Eltono, Filippo Minelli and Caleb Neelon. Again, a real diversity of artists and a diversity of backgrounds. Each of them have a great understanding of the public sphere and we’re excited to see what they will present.
Brooklyn Street Art:Given worldwide mapping and its ubiquity on devices we must ask this: In the future, will it be possible to get lost? Rafael Schacter: I hope so! As the artist Itso said, and I paraphrase, true places can never be mapped.
“Mapping The City” Opens tomorrow for the general public at Somerset House in London, UK. Click HERE for schedule of events, hours, directions and other details.
Until you get lost in a city, you really do not know its true nature. And possibly your own.
Only at the moment of realization that you really have lost your way, your bearings, your inner compass, however temporarily, do you get a genuine sense of a place and your place in it. What are these buildings, who are these people, what is that smell, why is that horn honking, is there a bathroom nearby, do I have any money, what do I do? Perhaps even “who am I?”. No, you’re too confident and self assured for that.
We’ve trekked through New York City thousands of miles by now, worn out many shoes, taken countless wrong turns, and been lost numerous times. It’s part of the adventure really. Especially in the 80s when it was all new to us; cacophonic and crazy and perplexing, unnerving, and seemingly neverending. Now, even with GPS on the phone it is completely possible to get lost. And if you are not lost, you know it is your responsibility to keep your eyes open for someone who is. It’ll happen.
This week we’re excited for London folks who get to look at a map, fifty of them actually. Curated by Rafael Schacter and his collaborative arts organization named A(by)P, Mapping the City is an ingenious little bit of inspiration and conceptualizing of our sense of place.
Who are these maps created by? Street Artists of course, as well as others from the graffiti art scene.
And these wildcats have taken many liberties with the assignment of “please make a map”. So many in fact that some of these maps would get you lost even further if you were to consult them. But there is plenty to be learned from them nonetheless. These maps may provide valuable insights into the highways and byways of some of these artist’s brains, now that you think of it, you beguiling detective.
The inaugural exhibition opens the New Wing of Somerset House – a wing that has been closed to the public for a century and a half, or roughly the time you have to wait for a cable repair person to come to your apartment. Rafael and his team are busy installing maps right now for the January 22nd opening, and we will have great “install” images and an interview with him next week for you to enjoy. But for right now, have a look at these examples of cartographic excellence from an international array of established and emerging artists for Mapping the City.
Here it is! Our 2014 wrap up featuring favorite images of the year by Brooklyn Street Art’s Jaime Rojo.
Before our video roundup below here is the Street Art photographer’s favorite of the year: Ask Jaime Rojo, our illustrious editor of photography at BrooklynStreetArt.com , who takes thousands of photographs each year, to respond to a simple question: What was your favorite photo of the year?
For 2014 he has swift response: “The Kara Walker.” Not the art, but the artist posed before her art.
It was an impromptu portrait that he took with his iPhone when the artist unveiled her enormous sculpture at a small gathering of neighborhood locals and former workers of the Domino Sugar Factory, informal enough that Rojo didn’t even have his professional camera with him. Aside from aesthetics for him it was the fact that the artist herself was so approachable and agreed to pose for him briefly, even allowing him to direct her just a bit to get the shot, that made an imprint on his mind and heart.
Of course the sculpture is gone and so is the building that was housing it for that matter – the large-scale public project presented by Creative Time was occupying this space as the last act before its destruction. The artist herself has probably moved on to her next kick-ass project after thousands of people stood in long lines along Kent Avenue in Brooklyn to see her astounding indictment-tribute-bereavement-celebration in a hulking warehouse through May and June.
But the photo remains.
And Rojo feels very lucky to have been able to seize that quintessential New York moment: the artist in silhouette before her own image, her own work, her own outward expression of an inner world.
And our holiday gift to you for five years running, here is the brand new video of favorite images of graffiti and Street Art by Brooklyn Street Art’s editor of photography, Jaime Rojo.
Of a few thousand these 129 shots fly smoothly by as a visual survey; a cross section of graffiti, street art, and the resurgence of mural art that continues to take hold. As usual, all manner of art-making is on display as you wander your city’s streets. Also as usual, we prefer the autonomous free-range unsolicited, unsanctioned type of Street Art because that’s what got us hooked as artists, and ultimately, it is the only truly uncensored stuff that has a free spirit and can hold a mirror up to us. But you have to hand it to the muralists – whether “permissioned” or outright commissioned, some people are challenging themselves creatively and still taking risks.
Once again these artists gave us impetus to continue doing what we are doing and above all made us love this city even more and the art and the artists who produce it. We hope you dig it too.
Brooklyn Street Art 2014 Images of the Year by Jaime Rojo includes the following artists;
2Face, Aakash Nihalani, Adam Fujita, Adnate, Amanda Marie, Andreco, Anthony Lister, Arnaud Montagard, Art is Trash, Ben Eine, Bikismo, Blek Le Rat, Bly, Cake, Caratoes, Case Maclaim, Chris Stain, Cleon Peterson, Clet, Clint Mario, Col Wallnuts, Conor Harrington, Cost, Crummy Gummy, Dain, Dal East, Damien Mitchell, Damon, Dan Witz, Dasic, Don’t Fret, Dot Dot Dot, Eelco Virus, EKG, El Sol 25, Elbow Toe, Etam Cru, Ewok, Faring Purth, Gilf!, Hama Woods, Hellbent, Hiss, Hitnes, HOTTEA, Icy & Sot, Jana & JS, Jason Coatney, Jef Aerosol, Jilly Ballistic, Joe Iurato, JR, Judith Supine, Kaff Eine, Kashink, Krakenkhan, Kuma, Li Hill, LMNOPI, London Kaye, Mais Menos, Mark Samsonovich, Martha Cooper, Maya Hayuk, Miss Me, Mover, Mr. Prvrt, Mr. Toll, Myth, Nenao, Nick Walker, Olek, Paper Skaters, Patty Smith, Pixel Pancho, Poster Boy, Pyramid Oracle, QRST, Rubin 415, Sampsa, Sean 9 Lugo, Sebs, Sego, Seher One, Sexer, Skewville, SmitheOne, Sober, Sonni, Specter, SpY, Square, Stay Fly, Stik, Stikki Peaches, Stikman, Swil, Swoon, Texas, Tilt, Tracy168, Trashbird, Vexta, Vinz, Willow, Wolfe Works, Wolftits, X-O, Zed1.
Art Basel has wound up another successful year in Miami and artists, dealers, buyers and sun seekers have departed. In their wake the streets of Wynwood have sustained yet one more onslaught of murals from an international mix of graffiti writers, street artists, and large format illustrators as the Street Art scene’s thick syrup of spontaneity hardens into a slick shell of commercial opportunity. The average working person with two jobs (or no job) may not have noticed that there is a fabulous boom in this economy for some, and the bubbly is flowing all around fairs like this, out into the streets, into the galleries, receptions, cocktails, and celebrity DJ appearances. While it lasts Brock Brake takes BSA readers through the brand sponsored cloud of opportunity and keeps the focus on what made Street Art interesting to begin with; the artists and their work. We think you’ll dig his photos and for the first time here, an essay in his words:
Miami’s Art Basel might be the world’s largest summer camp for artists. Every year, artists, galleries and enthusiasts from around the world come together in one place to paint, party and socialize. With a never ending list of desired activities and events during the week, it’s impossible to see and do it all. And many of the artists whose work towers on the walls of Miami’s Wynwood neighborhood have been there a week or so longer than anyone.
You know you’ve made it to the right neighborhood coming from the airport when all you see from the highway are large murals and roadside graffiti…and you’re most likely stuck in traffic.
Every single street in Wynwood was filled with artists from various parts of the world who all share one goal: to create. Artist like Meggs, Word To Mother, Hush, Spencer Keeton Cunningham, Lauren Napolitano, Aaron Glasson, Pose, Cleon Peterson, Ron English, Rone, Swoon and many others were all present and active.
It was hard not to get distracted by all of their process while walking from event to event. I spent a total of three full days in Wynwood documenting, visiting some walls more than once. It’s impossible to see it all.
When the fairs close around 7pm, the streets of Wynwood and South Beach explode. There are live painting events like Basel Castle and Secret Walls, pop up galleries, live concerts by hotel pools and, of course, The Deuce; South Beach’s best dive bar beehive of visiting artists.
I’m grateful for my annual “camp” reunion trips to Miami. Reconnecting with old friends you haven’t seen in years while making plenty of new ones. It’s fun to see that as the years go by, everyone is just as much a kid as you remember them. You see the same friend throughout the week wearing the same shirt for four days covered in paint, with no shower or sleep. All of these artists work very hard to do what they do and that’s why I do what I do.
Here’s our weekly interview with the street, this week featuring 2Face, Aine, Bifido, Caratoes, Cleon Peterson, Dal East, Dee Dee, Esteban Del Valle, Faring Purth, June, Kai June, Sean9Lugo, and Tara McPherson.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
