Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. HEREDITAS – Gonzalo Borondo 2. HOTTEA “Aaron.” Wooden Walls Project. Asbury Park, NJ. 3. DRAGON76 “COEXIST” Video by Tost Films
BSA Special Feature: HEREDITAS – Gonzalo Borondo
A companion video to his exhibition project Hereditas at The Esteban Vicente Museum of Contemporary Art artist Gonzalo Borondo reveals the complexity of his intervention here.
“Its aim is to question the past on the basis of present presuppositions, in particular, to recognize the museum as a place to preserve our cultural heritage for future generations and to show art’s amazing capacity to bring back to life objects that have lost their original purpose. In addition, it pays tribute to nature as the foundation of culture and inspiration of art and religious symbols.”
HOTTEA “Aaron”. Wooden Walls Project. Asbury Park, NJ.
Back with his second installation in this historic and tourist town of Asbury, HOTTEA dances with the breezes of the sea.
DRAGON76 “COEXIST” Video by Tost Films
A fresh piece in Jersey City by Dragon76, the folks at Tost Films offer an up close view of the work in progress.
The murder of George Floyd in Minneapolis on Monday, the murder of Ahmaud Arbery while jogging in Georgia in February, the racist threats and intimidation toward Christian Cooper over the Memorial Day Holiday while he was merely “birding” in Central Park in New York City, Breonna Taylor shot, unarmed in her apartment in March in Louisville; These are the recent examples, but there are more, thousands more…
Street artists and graffiti
writers around the world are responding visually to current events with new works
on the street. Sometimes it is a full-blown community mural or a hand-posted
sign. Other times it is the scrawl of a vandal in text – a visual equivalent to
a scream in the night. When it comes to issues of race and identity, many so-called
western societies are now adding a deliberate massive social and economic dislocation
to the cauldron; one where nearly the whole of the middle class is sliding into
serfdom – and the police are acting like a military.
A street artist from one of the centers of this national uprising who goes by the name HOT TEA tells us about a project he just took to the streets.
“I had to do something for George, being that I live in Minneapolis and am so fed up with police harassment and injustice,” he says. We projected his image on very iconic Minneapolis structures. The feedback while they were being projected was overwhelmingly positive and everyone wanted to help. We need to stick together and make sure that change starts to finally happen.”
Something resembling the truth, as painter Jasper Johns may say, is what we hear and see from the storm of disinformation we’re now in. Somewhere we know there is a dissembling of the economic and social order, the wolves are in the cupboard even while we are in the hospital bed, or morgue.
But the red white and blue still flies high, doesn’t it?
HotTea “Perspective” Sleepy Eye, Minnesota. ([hoto courtesy of the artist)
As he celebrates his 90th birthday Mr. Johns is
perhaps best known for his interpretations of the American flag that began in
our last true decade of rebellion against the “system”. By choosing an
emotionally charged and historically impactful image to alter he knew he would
trigger intense emotions of derision, as well as devotion.
HotTea “Perspective” Sleepy Eye, Minnesota. ([hoto courtesy of the artist)
One of his flag duos that currently is at the Broad Museum
features a reimagining of coloration that has inspired the
graffti/street/installation artist who goes by the street name HOT TEA. This
month in the middle of a Minnesotan field the artist reprised one of his first
loved pieces by Johns, “Flags”, which the 30-something Eric Rieger says he
first experienced at 18. Using two of his typical art materials, yarn and spray
paint, here in the fields of a troubled country in a deeply troubled time, it
makes again invites response, critique.
HotTea “Perspective” Sleepy Eye, Minnesota. ([hoto courtesy of the artist)
He says he enjoyed the optical illusion of certain colors in
the original, but his perspective has changed as he has gotten older.
“ ‘Flags’ to me now represents a much more conceptual experience.
I see this painting and think of everything that isn’t there but what the
facade of the American flags is hiding,” he says. “This painting is an
optical illusion and to me speaks to how something so obvious can be hiding in
plain site. There is so much evil in this world it can make your head
spin just thinking about it. Sometimes I wish my perspective could go
back to that of childhood – but it’s the knowledge we gain that shapes us into
the person we are today. One can only hope that our knowledge will be
used for good and not to bring harm onto others.”
Jasper Johns “Flags” 1967-1968HotTea “Perspective” Sleepy Eye, Minnesota. ([hoto courtesy of the artist)
BSA has been here with you for this entire decade – an honor and a privilege. Reviewing the many interventions and events we witnessed and shared with our readers, we realize that this grassroots people’s art movement is reflecting our society in fundamental ways and reaching deep as well as wide. Here in roughly chronological order we recount for you a Top 10 for BSA that have impacted our way of seeing art on the streets.
1.
The “Girl In The Blue Bra” – December 2011
Oppressive regimes worldwide have a few
commonalities. One of them is patriarchy. Over the last decade we have seen
many female artists rise powerfully to smash it, harnessing their rage and
power and taking their voice to the street.
There were countless images that encapsulated the ferocity and the tenacity of the protesters during the Arab Spring uprisings in Cairo, Egypt in December of 2011. One image, in particular, captured the attention of the media and the public. The image is commonly referred to as the “Girl In The Blue Bra”. The image depicts a young woman, whose identity remains anonymous, being beaten and dragged by soldiers as she was taking part in the protests in Tahrir Square in Cairo, against Egypt’s Supreme Council of the Armed Forces. Her face is veiled and her jeans are still on but as she was being dragged by the soldiers her abaya came undone exposing her bare torso and revealing her blue bra as a soldier was about to kick her in her abdomen.
A young woman is being dragged and kicked, exposing her bare torso in the act by the military in Tahiri Square. Cairo, Egypt. December 17, 2011. (Stringer/Reuters/Landov)
While the image exposed the abusive practices and of power of the military in Egypt – it also swiftly sparked ferocious reactions around the globe, particularly with women who subsequently staged their own march in Tahrir Square in Cairo to demand the end of military rule.
Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)
Among the artists who carried the Blue Bra theme to the streets was one artist, Bahia Shehab, whom BSA and its readers helped to get a movie made about Street Artists in the Arab Spring, called Nefertiti’s Daughters, directed by Mark Nicolas. Later we were the first to debut a scene from it at the Nuart Festival in Norway (“#Activism on the Street Now”), and years after that Nuart actually hosted professor Shehab. This is a small world, this Street Art community.
The actions of the young woman, the
violent response of the military, and the overwhelming support of the public,
in general, sparked a new wave of feminism in Egypt and inspired artists to
create and display their artworks on the streets in protest.
Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)An unidentified artist in Cairo. (photo from Pinterest)
2.
“Art In The Streets” Opens at LA MOCA – April 2011
Art in the Streets was the first major U.S. museum survey of graffiti and street art, curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, an exhibition tracing the development of graffiti and street art from the 1970s to the global movement it had evolved to. BSA was there to capture and share some of what was happening.
“Yes, Banksy is here. The giant ‘Art in the Streets’ show opening this weekend at the Museum of Contemporary Art in Los Angeles gives a patch of real estate to the international man of mystery who has contributed greatly to the worldwide profile of what is soon to be, maybe already is, a mainstream phenomenon known as street art. A smattering of his pranksterism is an absolute must for any show staking claim to the mantle of comprehensive survey and an excellent way to garner attention. But “Streets” gets its momentum by presenting a multi-torch colorful and explosive people’s history that began way before Banksy was born and likely will continue for a while after.
The show is an audacious multi-platform, colorful endeavor; part history lesson and part theme park bringing about 50 years of graffiti and street art history, it’s influences and influencers, under one roof. Then there is the stuff outside. Engaging and educational, “Art in the Streets” makes sure visitors have the opportunity to learn how certain tributaries lead to this one river of swirling urban goo, mapping connections between cultural movements, communities, and relationships within it. When it does this, the museum system effectively differentiates its value apart from a mere gallery show. “
Banksy’s NYC Residency – “Better Out Than In” – October 2013
An unprecedented city-wide near daily installation of works in New York established a new high-water mark in the flood of Street Art that took many cities in the 2010s. The British Street Artist played to a media capital in such an effective campaign that even the least interested residents became familiar with the elusive prankster.
A Genuine October Surprise for New York Street Art Friends and Foes Alike.
“In a series of communiqués beamed from his website, the global Street Artist Banksy gave graffiti and Street Art followers a near-daily jolt of mystery and mouse clicking that had people looking at every street scene as a possible Banksy by the time it ended. While few can confirm the exact level of involvement the actual artist had in the five boroughs, if any, none will deny that the Banksy brand underwent a major “refresh” this month that again put his name on the lips of those who had begun to forget him and many who had never heard of him.
Thanks to this masterful marketing campaign billed as a month-long ‘residency’ on New York’s streets, many thousands were talking about him daily on the street, on television, radio, social media, in galleries, studios, office cubicles, art parties, and the mayors’ office. By effectively combining the sport of treasure hunting with humor and populism, each new cryptic appearance of something-anything gradually conditioned some grand art doyennes and the plainer mongrels amongst us to drool on command and lift a leg in salute to the curiously still anonymous artist and the team who helped him pull it off.”
The Brooklyn Museum’s Exhibitions with Swoon, Faile, BÄST, Haring, Basquiat, ESPO, JR Expand Knowledge, Appreciation
One cultural institution in New York City and indeed in the United States has been notable throughout the decade for its commitment to organizing exhibitions where graffiti, street art, and the artists whom have shaped it are given recognition for their contribution to the arts. The Brooklyn Museum’s leadership, including former director Arnold L. Lehman, current director Anne Pasternak, and Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives have been channeling resources and focus to the study, promotion, and exhibition of the works of important figures in the contemporary graffiti and Street Art movement. It notable that the museum has in its permanent collection the works of distinguished graffiti and Street Artists dating back to the dawn of the modern scene; something that other important cultural institutions in New York City that are dedicated to the preservation and promotion of modern, contemporary, and American art lack in their collections.
It’s for this reason that we
have selected the Brooklyn Museum as one of the top ten graffiti and street art
movers of the decade. Predated by 2006’s “Graffiti” exhibition the museum has
mounted several important presentations during this decade that have not only
been blockbusters but they have contributed to the cultural enrichment of all
New Yorkers and the expanded discussion of the relevance of these art forms to
established canons. Here are some highlights:
“Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.
… At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.”
“Sharon brought me in here and said, ‘What is interesting to you in the building?’ and I really love that because the thing about working on the street is that you are always thinking site-specifically. And so that thinking has to translate into your work in all places. For me, if I make something in a museum I want it to be very site-specific and this is probably one of the most site-specific pieces I’ve ever done,” explains Swoon.
Under the advice and guidance of an engineer, the artist also modified her design process to allow for foundational considerations like truss sections and lift points. “I showed him an initial model and he showed me an engineered system and then I built another model based on the system that he engineered.”
It is probably unusual for a grand museum to be so amenable to the requests of an artist for a site-specific piece that literally inhabits the furthest reaches of space, and Swoon says she recognizes the leeway she received. “You know, they have been really adventurous in letting us create this. We’ve been sort of pushing a lot with the creation of this piece.”
For Matt Atkins, the opportunity to bring an internationally known street artist and neighbor into the museum has been the result of just over two years of planning. ‘It’s been so wonderful working with Swoon to realize her vision for this project. This is the first time we’ve really used the full height of the 72-foot dome, so it’s quite spectacular. I am thrilled to see her boats back in New York and for them to have this new life. The underlying ideas about climate change in the installation also make this project an appropriate tie into the Museum’s focus on activism with our other exhibitions and collections,’ she says.”
“In Basquiat: The Unknown Notebooks, now running at The Brooklyn Museum until August 23rd, the genius of his fragmenting logic is revealed as a direct relationship between his private journals and his prolific and personally published aerosol missives on the streets of Manhattan’s Soho and Lower East Side neighborhoods in the late 1970s and 1980s.
These notebooks were for capturing ideas and concepts, preparing them, transmuting them, revising them, pounding them into refrains. In the same way his text (and glyphic) pieces on the street were not necessarily finished products each time; imparted on the run and often in haste, these unpolished missives didn’t require such preciousness.”
“FAILE may be a religious experience this summer at the Brooklyn Museum, but only one of the hallowed installations is called Temple. The seedier, more dimly lit venue will surely have the larger number of congregants by far, bless their sacred hearts.
Celebrating the duality and appropriation of words, slogans, and images have been the bailiwick of the duo since they first began hitting Brooklyn streets at the turn of the century with their stencils and wheat-pastes on illegal spots and neglected spaces. In FAILE: Savage/Sacred Young Minds, their new attention-commanding/refracting exhibit organized by Sharon Matt Atkins at the Brooklyn Museum, these guys pour it on, compelling you into a complex panoply of possible re-imaginings of meaning that reference pop, pulp, myth, art history, 50s sci-fi, 60s advertising, comics, punk zines, consumer culture and their own pure artistic and branded fiction.”
Stephen Powers: Coney Island Is Still Dreamland (To A Seagull) is one of 3 new exhibits inspired by the historic attractions of Brooklyn’s seaside.
“Graffiti artist-turned-sign painter Stephen Powers is dreaming of Coney Island and he is bringing a colorful collection of found and freshly produced signage that evokes a forgotten era to climb the columns of a Brooklyn Museum gallery.
Given the boisterous parade of brands and logos into museums that is happening as part of the institutional funding and programming mix, it’s fun to see the ninth episodic installation of this traveling ICY SIGNS shop here; its simplicity and guile recalling amusing persuasive techniques from the mid-century American advertising lexicon. Simultaneously, for those who have been lucky enough to sicken themselves on cotton candy and The Wonder Wheel, the new show imparts a rather reassuring and seedy nostalgia for Coney Island, complete with an inexplicable hankering for a thick beef hot dog.”
“A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.
Brooklyn Street Art: JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects? Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby or business owners and workers of local stores. “
Curated by Christian Omodeo, Luca Cinacabilla, and Sean Corcoran. March 2016
BLU buffing his own works in Bologna took the news cycle, his legion of compatriots armed with rollers and bucket paint. But it was the show that he was reacting to that brought thousands to the museum space to discuss the rightful place of Street Art, graffiti, and the relevance of preserving it for posterity.
“The contested Banksy and Co. exhibition contains, among many other works, walls removed from a privately owned abandoned building in Bologna that were painted by BLU. Displaying the walls and his artwork without his consent so angered the painter that he rallied artists and activists to help him snuff out all his remaining murals and paintings in this Northern Italian city last week. (See A BLU Buffer Talks About the Grey Action in Bologna)
The heavily attended Friday night opening of Street Art – Banksy & Co. at Palazzo Pepoli – Museo della Storia di Bologna was curated by Luca Ciancabilla, Christian Omodeo, and Sean Corcoran and features roughly 250 historical and contemporary works spanning about fifty years and highlighting a number of movements within the so-called Urban Art genre. On balance it appears that 90 percent of the works are studio works, paintings, sculpture, videos, original sketches, and ephermera and were probably collected in a more conventional way and the tagged posters, stickers, metal doors, and wall fragments are viewed in the context of the whole scene.”
“Reality TV is usually completely devoid of reality. That isn’t the exact comparison Andreco said on his Facebook page but we thought it was a fitting analogy. Street Art in a museum or gallery can sometimes feel like taxidermy.
Andreco actually said ‘Deciding which wall to paint or not to paint has always been one of our free choices. This operation, to uncork the walls and move them elsewhere, oversteps this freedom.’ Fair enough.
Of course, that is not the primary reason why activists and Street Artists joined in to help BLU paint over the many murals that he completed on Bologna city walls over the last two decades or so. In an English titled press release on the Italian website Wumingfoundation the artist lays out a multi-layered justification for destroying his own murals, many of which have become beloved landmarks around the city and which have helped make him an art star in some circles.”
American conceptual, activist and street artist John Fekner, whose art and his art partner Don Leicht were represented in the exhibition Street Art: Bansky & Co weighs in the controversy by saying:
The bottom line is: what’s done in public-doesn’t remain in public. There’s no protection for artists who trespass. It’s the chance one takes outdoors.
If you create illegal art murals, street rules are always in effect:
You can’t stop a drunk in the middle of the night from pissing on your wall.
You can’t stop a bulldozer from razing your work.
You can’t stop a neighborhood anti-graffiti squad from painting over your work.
You can’t stop a well-dressed thief in a suit, or their hired slug with a chisel from removing your wall work and hauling it off to their laird, garage, museum or art market.
“Under any circumstances, don’t immediately and irrationally react. If your original aspirations were to be an artist- then just do what you were meant to do: be an artist. Don’t double shift and be a night watchman patrolling the streets to try and thwart thieves of your work. Unique temporary outdoor creations engender a public conversation that includes everyone: art lovers and art haters, lowbrow and highbrow, and everyone who interacts with your public work.”
Urban Nation Museum for Urban Contemporary Art Opens in Berlin – September 2017
We had the unique perspective of being two of the foundational curators who made this exhibition happen and made the doors fly open to thousands of visitors, so it only made sense that we covered the opening that brought much promise to the institutional recognition of Street Art, graffiti, and its move into Urban Contemporary.
“This week is Art Week in Berlin, and you just stole Art Week,” said a handsome and intensely opinionated German to us as we leaned on the arm rail of the M.C. Escher-inspired walkway before a Carlos Mare139 sculpture and above the capacity crowd on Saturday night at the Urban Nation Museum of Urban Contemporary Art (UN).
Not sure if that was the exact goal, but we get his larger point; the UN has just made a massive entry into a number of societally and culturally influential minds when it comes to the relevancy of Street Art and graffiti to visual culture and art history. This movement into so-called Contemporary began as early as the 1970s and has overcome and weathered cultural and market ebbs and flows – persisted, if you will – yet somehow institutions have been wary of this work and these artists and unable to fully embrace their importance, you decide why.”
“In a ruling that many graffiti and Street Artists interpret as a validation of their artwork and which may spawn further legal claims by artists in the future, Brooklyn Judge Frederic Block, a United States Federal Judge for the Eastern District of New York, awarded $6.7 million in damages to a group of 21 artists in the high profile case of the former graffiti holy place in Queens called 5 Pointz.
Under the leadership of artist and organizer Jonathan “Meres One” Cohen, also a plaintiff, the award is in response to a suit that cried foul on the overnight destruction of multiple artworks on building walls without consultation or notification of the artists.
Citing provisions of the 1990 Visual Artists Rights Act that grants artists certain “moral” rights, the artists claimed that their artworks on the 5 Pointz compound that was owned by real estate developer Jerry Wykoff were protected and should be afforded certain rights and considerations.
Arts and intellectual property lawyers and judges will now be examining the implications of the ruling and citing it as an example in arguments about art created on walls legally and possibly those created illegally as well. In a city that prides itself as being a birthplace of graffiti and Street Art, many artists and wall owners must ask themselves if there will need to be an additional layer of the agreement before an aerosol can is held aloft.”
The New York Times Publishes DONDI’S Obituary – February 2019
In an unprecedented posthumous publication of an obituary, this year The Times acknowledged something that it had so far failed to do; the contribution of graffiti writers to the cultural and art canons deserves serious recognition. By publishing the iconic image of DONDI taken by Martha Cooper that burned “Subway Art” into the mind’s eye of many generations of graffiti writers, the “paper of record” caught up with one the the scene’s leaders and heroes.
Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)
Donald Joseph White, considered a legend before “street art” became popular, turned New York City’s subways into rolling canvases of color, humor and social commentary.”
Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)
9.
Martha Cooper: A Picture Story Premieres at TriBeCa. A film by Selina Miles. April 2019
“First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:
Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.
The electricity was in the air as Director Miles and producer Daniel Joyce along with the just-arrived Australian members of the “Martha” crew looked for their seats in the Village East Cinema. After a brief introduction by Miles, who told the audience that the film had been a great pleasure to make, the curtain went up to reveal the mother of the superstar art twins Os Gemeos on the big screen. She is sitting at her kitchen table in São Paulo remarking how her boys used to draw on everything, including fruit, and how Cooper and Chalfant’s 1984 book “Subway Art” changed their lives forever. With their story as a backbone for the film, the theme of personal transformation is repeated in a hundred large and small ways for the next hour and twenty minutes. “
Street Art and Activism Takes Larger Share of the Cultural Stage
This
decade that is coming to an end has seen its share of natural disasters, human
rights violations, atrocities of large scale against humanity, corruption at
the highest levels, the reversal of hard-fought policies to protect the planet
and keep our air and water clean. We have witnessed with despair the
renaissance of hatred based on people’s nationalities, their skin color, their
religion, their choice of attire, their level of material affluence and their
sexual preferences.
We
have seen progress as well. Women around the world have been freer to speak
their mind against oppression and abuse of power thanks to social movements
that have flourished around the world in big cities and small towns. Our LGBT
brothers and sisters have scored numerous legal battles in their favor thanks
to enlightened lawmakers and judges who have searched deep inside their
intellect to find the right answer to make sure everybody is treated equally.
Likewise, our peers whom we need to advance our cause have taken seriously the
responsibility at the ballot box to make the correct choice with policies that
will bring relief to those who have less than we do.
Art
and artists have often reflected back to us the world we live in, it is for
this reason that we have chosen Street Art and Activism as an important action
in this decade. We have always championed the work of artists who imbued their
art with a strong sense of social urgency. It is with their art that they talk
to us in the hopes to change one mind, one action, one concept, one attitude
towards the goal creating a common good. There are many of them currently
active on the streets. This wouldn’t be the appropriate space to list all of
them but we would like to give you some highlights:
“This past Sunday, February 17 at La Plaza de las Tres Chimeneas (Three Smokestacks Square) in Barcelona an international group of artists participated in the first ‘No Borders Festival.’
NO BORDERS is a grassroots organization that was created to raise awareness about the refugees, to demand their acceptance, and to raise funds through debates, art, and documentaries.
They say they want to raise the uncomfortable questions – which will undoubtedly lead to uncomfortable answers as well. To paraphrase the text on their website:
‘Do we settle for a society that violates its moral and legal obligations to refugees? A refugee is a person who flees – Flees because he is on the losing side. Because he thinks, feels or prays differently than those who point him with their weapons.’
As usual, artists are bringing these matters to the street for the vox populi to debate.”
An Art, Science and Climate Action project by Andreco
“And the statement isn’t hyperbole, according to AIR-Ink, the company that made his ink, which is “the first ink made entirely out of air pollution,” they explain on their website.
The unique art-making material is part of the Italian Street Artist / Activist’s most recent installment of his Climate Art Project, which he orchestrated on the streets here in New Delhi for the St+Art Festival this year. Part of a global, multi-city installation and demonstration, ‘Climate 05 – Reclaiming Air and Water’.”
Andreco. Climate Art Project. In collaboration with St+ART India Foundation. Delhi, India. March 2019. (photo Akshat Nauriyal)
” ‘Actions Speak Louder Than Ass Ads,’ says a new stencil-style printed poster by New York’s epic, if sometimes cryptic, street commentator of four decades, John Fekner. Anyway, who will argue with that?
“Post-posters is a cooperative proposition about
public billposting,” says French conceptual street anarchist
Matthew Tremblin about his new project with hit-and-run situationist street
posterer Antonio Gallego. Together they reclaim space
with individually produced posters and they invite artists from around the
world to do the same.
Over a two month period the creative place-makers are facilitating an international crew of artists to post posters on the occasion of the double exhibition by Banlieue-Banlieue group* (°1982, Poissy) taking place in Strasbourg, at both AEDAEN and the Syndicat Potentiel. “
John Fekner . Carole Douillard. Post-Posters Project. Strasbourg, France. April 2019. (photo courtesy of Syndicat Potentiel)
“By putting these images of people of color, women, LGBTQ+ folks on the street with their blunt-force sentiments addressed to would-be harassers, she not only stands with them, but Tatyana has also used her work and vision to give them the courage to stand proud, assert their voice and to take public space.
After all, it belongs to the public.
“Women are not outside for your entertainment”, a startling
truth for some guys that pointedly highlights abusive behavior toward women on
the streets of Brooklyn and many cities around the world. Brooklyn Street
Artist Tatyana Fazlalizadeh has been targeting daily oppressive experiences of
marginalized people with her campaigns of art on the streets – and in the
gallery.
Addressing themes of social justice, racism, LGBTQ+ rights, and sexist street harassment, her beautifully drawn campaigns on wheat-pasted posters and painted murals across the globe have brought attention to issues sorely in need of addressing during hostile rhetoric from some men in the highest offices.”
“This spill and these events did not happen in San Diego or Palm Beach. The story doesn’t affect wealthy white families and cannot be used to sell shampoo or real estate. That’s probably why we don’t see it in the press and never on the talking-head news. Street Artist Jetsonorama is not only a photographer who has been wheat-pasting his stunning images of people and nature on desert buildings for over a decade, he is also a doctor on the Navajo reservation, a human-rights activist, and an erudite scholar of American history as it pertains to the poisoning of this land and these people. Today we’re pleased to bring you this long-form examination from Jetsonorama’s perspective on a complicated and tragic US story of environmental poisoning and blight that affects generations of native peoples, miners, military personnel, and everyday people – and has no end in sight.
Most alarming is the news the current White House administration is endeavoring to mine uranium here again.
‘Private companies hired thousands of Navajo men to work the uranium mines and disregarded recommendations to protect miners and mill workers. In 1950 the U.S. Public Health Service began a human testing experiment on Navajo miners without their informed consent during the federal government’s study of the long-term health effects from radiation poisoning. This study followed the same violation of human rights protocol as the US Public Health Service study on the long-term effects of syphilis on humans by experimenting on non-consenting African American men in what is known as the Tuskegee Syphilis Experiment from 1932 – 1972.’ ~ Jetsonorama”
“As part of our core commitment as a non-commercial platform that has helped hundreds of artists over the last decade+, BSA significantly helped Escif to raise money for his Indiegogo fundraiser in Spring 2017 when we promoted his “Breath-Time” horticultural project heavily as he planted trees to reforest Mount Olivella in Southern Italy.
Today BSA debuts REWILD, a new
tree-related project by the Spanish Street Artists – just as the Global Climate
March is spreading to cities around the world, including New York.
The concept of the short film is
simple: can’t we just push the “Rewind” button?
‘The narrative runs in reverse, rewinding the clock on deforestation to undo the damage caused by the unsustainable production of one of the world’s most versatile commodities. Beyond the industrialisation of the land, we end at the beginning, a thriving ecosystem alive with wildlife. The concept mirrors the real world action of the Sumatran Orangutan Society and their partners in reclaiming land on the borders of the Leuser rainforests to rewild them with indigenous trees, expanding the boundaries of one of the most biodiverse places on earth.’
Finally, a stunning custom soundtrack by Indonesian composer Nursalim
Yadi Anugerah captures and carries this into another world, which is
possible.
Greece, Mexico, Poland, Detroit, Brooklyn, Tennesee, Texas, Asbury Park in New Jersey. Your favorite BSA stories were not limited to geography. Aerosol, wheat-paste, yarn, soldered steel, cut stencils, rollers, photography, even plants; Nor were they contained by technique or materials.
Giving live plants away in a refugee camp, queer pride phone
booth takeovers, a floriculture bus stop, a windswept installation constantly
in motion at a seaside resort. We paid homage to foundational documentarians of
graffiti and Street Art culture, watched an early 1980s French stencil
originator travel through the US south, and provided a platform for one of New
York’s most elusive writers who blasted apart definitions with his texts and
sculpture – all while keeping his own profile on the serious DL.
The creative spirit appears wherever we look on the street,
and luckily you love to observe and learn and get inspired by other’s work as
much as we do.
Based on the traffic to the website, on social media, and in
our email box, here are the top 10 stories that you loved the most in 2019 on
BSA.
Who writes your history? Who would gladly suppress it?
By reviving and celebrating those who the mainstream historically underplays, undercuts, neatly overlooks, and otherwise de facto silences, a new takeover campaign on NY streets helps write the history of LGBTQ struggle, and keeps it just as relevant as this moment.
Photographer and journalist The Dusty Rebel now curates the same streets he documents and shares with BSA readers today his determined campaign to revive, preserve, propel forward the significant players and events that have fought in their myriad ways, with the admonishment to keep fighting. With “Resistance is Queer” he uses his images and his respect for LGBTQ history to ensure that the full spectrum of people are recognized for their contributions to this civil rights struggle for equality.
We’re grateful that he has taken the time to explain in detail the people behind the images and their significance to him personally as well as their role in a people’s history.
The Dusty Rebel: “Resistance is Queer” Phone Booth Campaign in NYC. Continue reading HERE
Tennessee and Texas Sample a Certain Street Savoir Faire
Look out for Le Rat!
He’s getting up in places down south that you wouldn’t normally
associate with a French Street Artist, much less the one who started
stenciling in a style and manner unusual on Paris walls in ’81 – an
antecedent for much of what we later would call ‘Street Art”.
Blek le Rat Tours The US South continue reading HERE
No. 8
“Evolucion de una Revolucion” Outside in Queretaro, Mexico
“Martha Cooper isn’t only a
photographer, she’s a historian as well and you are here with us today
to pay homage to her work. Martha is my teacher and she taught me more
than graffiti, she’s taught me the way in which we live with art every
day. When we see a piece of art on the street we bring it into our daily
lives. That’s precisely Martha’s contribution to our lives”
Edgar Sánchez, co-founder of the Nueve Arte Urbano festival.
Under the magical spell of the Jacarandas in full bloom, a spirit of
Pax Urbana flowed through Queretaro’s lush public park Alameda Central
this weekend as dignitaries from the city, including the honorable
Andrea Avendaño, the Minister of Culture of the City of Queretaro, and
the Nueve Arte Urbano team hosted the opening of an outdoor exhibition
by famed photographer Martha Cooper.
The 101 photographs spanning four decades were enlarged and mounted
in weather resistant vinyl throughout the park, representing the full
range of Ms. Cooper’s continued focus on art in the streets.
Street Art brothers Icy and Sot once again lead by example with their latest act of artivism at a refugee camp in Greece.
People chased from their homes by wars in places like Syria, Iraq and
Afghanistan are now part of a larger conversation in Europe as
countries struggle to accept the massive numbers of refugees in the last
decade. On the Greek island of Lesbos, the overcrowding of a camp named
Moria has produced Olive Grove, a temporary place full of tents, but
little nature.
With a goal of softening the hardship for people living here, Icy and Sot raised money through a print sale online and with the proceeds purchased fresh flowering plants to give away. “It was wonderful to see that actually put a smile on peoples’ faces for a moment,” they say in a press release.
Icy & Sot: Giving Plants And New Life To Refugees In Grece continue reading HERE
No. 6
“Martha: A Picture Story”. Shots from the Premiere and Movie Review
First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:
Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.
Martha A Picture Story. Shots From The Premiere And Movie Review continue reading HERE
No. 5
Riding the Rails in the Bronx With “Henry Chalfant: Art vs. Transit, 1977 – 1987”
“We may have lost the trains, but we’ve gained the whole world.”
That’s a quote on the wall in the new exhibition at the Bronx Museum spotlighting the work of Henry Chalfant. The quote comes from Mare 139, one of the early graffiti writers of 1970s-80s trains in New York, referring to the now-scrubbed subway cars that once functioned as a mobile gallery for the young masters of cans throughout a metropolis that was in the grips of financial and social upheaval. Thanks to the work of artists and documentarians like Mr. Chalfant, the ephemeral works were captured, cared for, preserved, and spread throughout the world in the intervening years, in some ways helping to spawn a global interest and practice among burgeoning artists.
Riding The Rails in The Bronx With “Henry Chalfant: Art VS. Transit 1977 -1987 continue reading HERE
“Graffiti ain’t something you do, it’s something you live,” says the text above a wildly lettered REVS piece in a 1996 photo taken in El Paso. If there is a New York graffiti/Street Art icon that you would identify with a credo like this, he’s definitely one. Self-secreted away from the limelight and distrustful of many of the characters that are on the graffiti/Street Art “scene” today, REVS is nearly a New York folk hero, despite appearing to be completely firm in his anti-establishment, anti-commercial views – rooted in punk and hardcore music and those values that helped form his sometimes shape-shifting character since the the 1980s.
As we move further from graffiti and mark-making in public
art-making, is it a revelation that the desire to be seen, to have your
voice heard, is the common denominator again, regardless of the form of
expression.
In
this case, a tram shelter in Poland preserves the natural world in resin,
transparently.
Like
a mix master, the artist here samples someone else’s handiwork and remixes it,
adding a filter, chopping it up and repeating it.
Nostalgia Brings Floriculture to the Tram Stop in Lodz, Poland continue reading HERE
No. 2
Banksy X Mercedes: Is This a Parody??
From BSA:
Yes, of course.
This artists’ interpretation of a car ad that features Banksy’s work is a parody, a farce. No one would try to take one of Banksy’s Street Art pieces to help sell their luxury cars, claiming that his work is in public domain and therefore fair game for any use.
Similarly, if it was a mural on the street by Brooklyn Street Artist KAWS, whose fine art canvas sold at auction this week for $14.7 million dollars at Sothebys Hong Kong, Mercedes wouldn’t simply grab it and run the art behind their newest off-roader on Instagram to infer that “Urban” edginess.
Or would they?
“And now they have filed a lawsuit against me trying to strip away all of my rights. I feel like I am being bullied and intimidated,” says graffiti/street artist artist Daniel Bombardier (a/k.a DENIAL) in a statement regarding the luxury brand that is instead suing him along with three other artists, apparently for having the temerity to demand to be paid, according to an article by James David Dickson in The Detroit News .
Bombardier’s mural and the artworks of the other artists – James Lewis (a.k.a. Olayami Dabls), Jeff Soto, and Maxx Gramajo appeared in published advertisements for the company’s cars, apparently without permission. The artists hired a lawyer to contact the carmaker to seek redress, according to news reports, social media postings, and emails that fairly flooded us yesterday.
Banksy x Mercedez: Is This a Parody? Continue reading HERE
No. 1
Windswept Public Art at the Beach: Hot Tea’s New Installation in Asbury Park
They designed the Ritz, the Vanderbilt, the Ambassador and the Biltmore hotels in Manhattan, along with townhouses for the Astors, the Yacht Club, and apartment buildings on 5th Ave and Park.
They were also architects on the team for Grand Central Terminal, that Beaux-Arts centerpiece of Gotham with its high marble walls, majestic sculptures, and lofty domed ceiling.
Also, Whitney Warren & Charles Wetmore designed the Casino Building here in Asbury Park, New Jersey a celebrated historical magnet for thousands of tourists escaping the heat and seeking buffeting breezes. The soaring glass paned windows may remind you of Grand Central, but also of that illustrated postcard on the cover of the Bruce Springsteen album, and of colorful resort town living.
You’ll also see 5,760 pieces of colored yarn hanging from the beams above, forming a shape-shifting brick of radiating color that appears to levitate. The brand new installation by Street Artist Hot Tea is lifted and pulled and choreographed by the ocean air, dancing to the sounds of waves crashing, emulating the currents of the sea. 17 rows define the physical boundaries, but your imagination can go much further with it in a matter of minutes.
Windswept Public Art at the Beach: Hot Tea’s New Installation at Asbury Park HERE
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. ENCHENTE (FLOOD) Eduardo Srur and Tché Ruggi 2. “LA PARED ES NUESTRA” por ESCIF (spanish) 3. Shepard Fairey. Facing the Giant: Three Decades of Dissent. Part 1 4. Hot Tea. New installation in Asbury Park, NJ for Wooden Walls Project.
BSA Special Feature: ENCHENTE (FLOOD) Eduardo Srur and Tché Ruggi
News from Brazil this month reminds us that annual flooding in São Paulo kills people and destroys homes, thanks to the city being built on one of the largest river basins in the country. Public artists Eduardo Srur and Tché Ruggi combine mural painting and sculpture to address the struggles that people here face – including the displacement of people and homes and destruction of their lives.
The artists say, “With its exponential urban growth, the conflict of space
between the water and the city is getting more violent each year. The public
art portrayed is an answer to this sad reality of São Paulo. The film put light
on this conflict and approaches the relation of the
public art with the city and its inhabitants.”
“LA PARED ES NUESTRA” por ESCIF (spanish)
A new retrospective video on the community
wall created in response to a people’s history. Inspired by the neighborhood
movements of 1970s Spain, specifically the city of Sant Feliu de Llobregat, an
open call to paint a central wall was responded to by 300 applicants in 42
countries. The jury selected 12 finalists and in council with local city
council, local artists, and local historians and community leaders, an
international jury selected Street Artist and ‘artivist” Escif as winner of the
residency.
With thanks to the artist, the
community, and to Kaligrafics urban art organization and Contorno Urbano
Foundation and jury members Jaime Rojo (Brooklyn Street Art, NY), Mónica
Campana (Living Walls, ATL), Veronica Werkmeister (IMVG, Vitoria), Fernando
Figueroa (Doctor of Art History) and Esteban Marín (President, Fundación
Contour Urbano), here is the story.
Shepard Fairey. Facing the Giant: Three Decades of Dissent. Part 1 by Chop ’em Down Films.
They designed the Ritz, the Vanderbilt, the Ambassador and the Biltmore hotels in Manhattan, along with townhouses for the Astors, the Yacht Club, and apartment buildings on 5th Ave and Park.
They were also architects on the team for Grand Central Terminal, that Beaux-Arts centerpiece of Gotham with its high marble walls, majestic sculptures, and lofty domed ceiling.
Also, Whitney Warren & Charles Wetmore designed the Casino Building here in Asbury Park, New Jersey a celebrated historical magnet for thousands of tourists escaping the heat and seeking buffeting breezes. The soaring glass paned windows may remind you of Grand Central, but also of that illustrated postcard on the cover of the Bruce Springsteen album, and of colorful resort town living.
If you had been promenading through this public thoroughfare that connects Ocean Grove to Asbury Park when it was bustling in the middle of last century, you would have seen Skee-Ball machines, bumper cars, games of diversion, and hot dog vendors. Now a cavernous yet sometimes ornate cave from yesteryear, you will feel the soft ocean breezes and hear the call of the seagulls echoing inside the casino throughout the day, and sometimes the night.
You’ll also see 5,760 pieces of colored yarn hanging from the beams above, forming a shape-shifting brick of radiating color that appears to levitate. The brand new installation by Street Artist Hot Tea is lifted and pulled and choreographed by the ocean air, dancing to the sounds of waves crashing, emulating the currents of the sea. 17 rows define the physical boundaries, but your imagination can go much further with it in a matter of minutes.
“One of the focal parts of this piece is about how people interact with it,” says Hot Tea (Eric Rieger) as he unbundles 153 containers of yarns he prepared in his Minneapolis studio and suspends them above.
“Hopefully they’ll take that idea of interaction and, I know this is a big ask, but maybe they’ll take more time talking to someone face-to-face. That’s the larger idea behind my artwork and that’s why am so passionate about doing work in public spaces because I want to alter peoples experience. I want to create more intimate experiences for people who aren’t expecting it.”
“I love the beauty of this movement of the color next to the decay of this beautiful historic building,” says Jenn Hampton of Parlor Gallery who organized the project after many conversations with the artist in the last few years.
This is the first installation of its kind for the Wooden Walls Project that has brought many Street Artists to paint murals here on the boardwalk since Hampton began it in the wake of Hurricane Sandy. She says that part of her process is working with the artist and partly with the people who live and work in this seaside area who may think of public art as limited to statues or murals.
“You have to educate a community of people who may not understand installation art,” she says, and while you watch the arduous process of Hot Tea and his assistant overhead for a few days, you’ll have an opportunity to hear a variety of commentaries from people passing by. On one of the sunny May afternoons a tourist from out of town is so enthralled that she returns during the night time to see how it was progressing and befriends the artist with compliments and bromides during the challenging windy passages.
One gent who identified himself as a Vietnam veteran was sure that the art installation was probably “gay art” because of its rainbow color range. He wondered aloud abrasively to anyone who happened to pass by about gay art and the lamented lack of Straight Pride celebrations, among other observations. A pair of bicyclists stop to engage with him about art in general and this piece in specific but soon appears to withdraw. Before zipping away they take turns yelling up to the artist to say that they like the installation a lot.
“You know it’s interesting with my artwork,” Hot Tea says during a break from the installation. “I have noticed that people of all ages and from all different ethnicities have some sort of say when it comes to my work. Like when I did the piece in the Williamsburg Bridge called “Rituals” it was anyone from little kids who were four or five years olds just immediately responding to the work – just a gasp or a shouted word.”
“They could be young adults or adults on their commute and they were slowing down on their way and that was what I was experiencing with this piece. The kids were gasping and pointing and telling their parents to look up. And then there were young adults who were saying that it was calming and relaxing them and then these older people who stop and say that they’re having an experience with this. They say that this is making them think of the space in a new way.”
“Hot Tea’s piece brings me an immediate feeling of peace and presence,” says Angie Sugrim, a producer with Parlor Gallery and the Wooden Walls Project. Her loyalty to Asbury Park is palpable while you speak with her and it is clear that this installation has affected her meaningfully. “I love how it changes according to the way I choose to interact with it. It’s like a river, though it is constant, it is always changing. I like the feeling of connecting with the piece as it undulates, and following its movement as though it was connected to my own psyche and consciousness.”
“Hot Tea has taken this journey with me for the last
five years and I cannot say enough about how wonderful he is to work with,”
says Hampton. “Watching how driven he is in his process has been amazing.”
He talks to us about the logistics of unveiling his idea to the public. “I’ve tried it where I just drop the whole bundle and try to separate it with my hands but there’s no way to get the yarn to drop individually and it just looks a lot cleaner if you drop it one by one,” he says, “It’s more time-consuming but the end result is much cleaner. All in all from conception to execution I would say it was about three weeks to execute this.”
With roots as a graffiti writer, Hot Tea has created his own niche on the street with yarn – surprising many peers while he is designing and mounting these space-altering large installations for large and small clients around the world, particularly in the last half-decade.
He says that this one in Asbury Park has been unique because of its proximity to the ocean and the impact of the natural elements on the movement of his piece. He says the effect has also affected him aesthetically and emotionally – and he hopes passersby will similarly be moved.
“I think when you are looking up from the bottom you can appreciate the mechanics of it and during the day the yarns are flowing with the wind and more attention is drawn to the color because the wind is moving it.
It’s more of a kinetic experience I think; That’s how I experience it and this whole thing is more about just the experience. Color is a huge part with my work but a lot of it is about creating a lasting memory that people will subconsciously remember when this piece is gone. I hope that happens”
Notre-Dame has been sorrowfully tested this week by fire. The Hasidic Jews in Brooklyn burned fires of bread in the streets Friday in a religious ritual for Passover known as chometz. Even the Orthodox Christians have Holy Fire celebrations on the day before Easter, which was yesterday.
Thanks to the visions of artists, the street continues to set imaginations on fire as well. Just don’t get burned.
So here’s our weekly interview with the street, this time featuring Antennae, Captain Eyeliner, Caze, Franco “Jaz” Fasoli, Hiss, Hot Tea, Pyramid Oracle, Rek La Blatte, Samuffa, Sensbale, Smells, Steve ESPO Powers, and Texas.
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.
A fluorescent underwater sea creature is flobbing it’s tentacles in the ripply and unusual directions of the currents and cross currents, full of life and full of crazy ideas. This particular one is hanging over your head actually, but the breezes make it look like its under water.
The levitating and waving installation in the sky must be confusing for Borås citizens who see the sugar hot pink, the blood red, the radioactive lemon and electric lime blob in the sky, especially because its in the church yard.
It doesn’t really seem like a piece of Street Art to those who are accustomed to thinking that festivals like “No Limit” are for murals only. But the director of this Swedish art gathering doesn’t worry much about restrictions like that – he knows that public art today has as many variations as it does practitioners.
“I can stare at the HOTTEA installation forever,” says Shai Dahan, a Street Artist who has invited a healthy range of artists who work in the public sphere in the 3 editions of “No Limit”.
In fact, it is mesmerizing and time may collapse upon itself while you stare up at this ever-changing sky-sculpture from green grass of the yard, or from the pews inside Caroli Church while allowing your attention to drift out the window. It may appear as a vision, a sign, a holy spirit embodied in this cubic form just outside the glass. Hopefully the Vicar hasn’t found it too distracting for parishioners to listen to his Sunday sermon.
Our weekly focus on the moving image and art in the streets. This week we feature videos of installations and a tour of the “UNSTOPPABLE” exhibition by Jaime Rojo at the Urban Nation (UN) museum opening.
Now screening :
1. A BSA Tour Through the Show: “Unstoppable”
2. Pixel Pancho’s Installation for Urban Nation Museum
3. Hot Tea: “Bad Dreams pt.2” Installation for Urban Nation Museum 4. Borondo’ Installation with glass plates and moving images for Urban Nation Museum
5. Various & Gould. Mobile installation for Urban Nation Museum
A BSA Tour Through the Show: “Unstoppable” at Urban Nation Museum For Urban Contemporary in Berlin
Pixel Pancho’s Installation for Urban Nation Museum For Urban Contemporary Art. Via BSA
Pixel’s original installation was nixed by the city at the last moment but that didn’t prevent the Italian Street Artist from rallying to find another solution!
This new installation in the back courtyard was conceived of, designed, and constructed over a period of 4 days last week and became the secret surprise behind the museum for those who wandered there. Using landscaping techniques and botany knowledge that come naturally from his farm in Italy, the artist create a mise en scène of epic impact with his robotic folk-futurist sculptures. Night time lighting took it to another world, but you can see the details better here in this short video Jaime Rojo shot on site.
Hot Tea: “Bad Dreams pt.2” Installation for Urban Nation Museum For Urban Contemporary Art. Via BSA
Hot Tea had been feeling like his new work “Bad Dreams Pt. 2” for the UN Art Mile was missing something and as the plan and installation came together over a few months he realized it was missing him. A direct partner piece to the one that hangs in the museum across the street for the “UNSTOPPABLE” show, this uses the connective thread of materials and wounds to tie them together. While one piece commemorates a physical wound, the other commemorates an emotional one. Here we see Hot Tea baring everything inside his art and inside this space for the outside world to get a glimpse, and to be free.
Borondo. Installation with glass plates and moving images for Urban Nation Museum For Urban Contemporary Art. Via BSA
An astounding installation by Street Artist Borondo, this sculpture on the Urban Nation Art Mile under the train tracks this weekend blew the minds of many viewers for it’s scale, character, and ingenuity. Anathema to the ease of digital image-making, these three frames are composed of layers of glass, each scratched with a portion of the image and illuminated singularly in sequence to produce an animated sequence. Mesmerizing and imbued with an ethereal mysticism that often surrounds his work, Borondo is communicating something larger than simply what we see.
Various & Gould. Mobile installation for Urban Nation Museum For Urban Contemporary Art. Via BSA
Berlin based duo Various & Gould often see people as the sum of there parts, perhaps as a way to better examine our individual characteristics and question our assigned meanings to them. By playing with the physical aspects that add to identity, they reveal the happenstance of genetic assignment and demote the relative value we assign to them. The overall effect can be a gained appreciation of our universal similarities and the realization that this outside stuff is basically interchangeable.
A common thread ties together two buildings and two art pieces by Street Artist HOT TEA for the grand opening of the Urban Nation Museum For Urban Contemporary Art in Berlin (UN); Bad Dreams. And he has decided to face them.
One of the few artists in the inaugural program who was asked to create an indoor piece for the main museum as well as to do an installation outside it, the Minneapolis based artist used the opportunity to face old wounds with the hope of transforming them to healing.
Perhaps the only illegal yarn-tagger on the street, HOTTEA has made a space for himself where none existed: using non-destructive materials to write his name in a rotated 3-D geometric hand on city fences. Now an accomplished yarn artist who has done his signature installations for corporate brands, museums, and even recently the Mall of America, the artist wanted to address bigger personal issues in these two settings, presenting himself naked to the world in both.
HOT TEA’s collage in the museum features a flat 2-D character painting, a reclined self portrait viewed from above with a series of small needles crossing it, threaded to spell the title of the piece “Bad Dreams”.
Across the Bülowstraße from the museum is a street level space viewable for passersby from multiple windows; a rainbow color-washed corner foyer hung with hundreds of white yarns in a grid hanging from ceiling to floor. One small space near the back of the ephemerous white cube is cut open, just large enough for the artist to stand sans vêtements, facing toward the glass double door, his illuminated image slowly moving as you walk the sidewalk past the installation on night-time streets.
The optimistically colored installation is a surreal vision from the street for a few reasons. One is the stillness of the fleshy figure that is now activated like a Kraftwerk robot, slowly turning as you walk from window to window surveying it.
Another aspect is the seemingly shimmering box, this floating white cube that contains him, allowing you to view from many angles. The third bit of surrealism is the two boisterous and nearly hysterical sex workers who have just sauntered by the window and stop to gawk at a naked man inside a piece of art. Neither you nor they speak each other’s language, so the only connection you have is this puzzling view from the street.
In both art pieces the artist as subject is void of expression, staring blankly forward and unmoving as if paralyzed, unable to act or react. The vulnerability implied is physical of course, but it is also emotional. HOT TEA considers this a very public practice that can excise private pain. This weekend in Berlin we witnessed observers closely studying each piece, perhaps attempting to decode the meanings, perhaps relating to an underlying sense of humanity within the abstraction.
“Both experiences were very traumatic and I feel these two pieces have helped me find peace,” HOT TEA tells us of the new works. BSA talked to him about the works and his approach to them.
BSA:The new pieces you created for both inside and outside the museum are related to one another and related to your personal experiences as an artist and a man. Can you talk about the pop-up installation? HOT TEA: The two pieces are about two different events that happened in my life – which have made an impact on me for so many years. My canvas painting within the museum talks about a physical scar, where the installation talks about a mental scar.
BSA:You have been refining your use of materials through many installations in ever-larger commercial, corporate and museum venues. How have you challenged yourself with yarn and color? HOT TEA: I think an even bigger challenge than yarn and color is the actual space itself. Yarn and color come very natural to me – but sometimes when I am invited to a space it’s not one I would naturally choose.
These spaces are often hard to work in – because many times I find myself uninspired. What inspires me and gives the work life is often the process of creating the installation. The experience of the people I work with or certain events that have taken place during the time of the installation. Often times my installs are depictions of different moments in my life.
BSA:Standing naked and illuminated and partially obscured before a street audience who can peer at you from different angles on the street must have been an interesting experience. What was going through your mind? What visual associations with other artworks were you imagining? HOT TEA: I was thinking about the experience that inspired the performance and how much I have grown emotionally since then. I also thought about my family, friends and those close to me who are no longer here.
BSA:How do you see this installation as an extension of your street practice? HOT TEA: I don’t see this installation as an extension of my street practice. I see it’s me grieving about traumatic experiences. All my work comes from the same mind and therefore I don’t distinguish my art from commissioned work and un-commissioned work.
BSA:As a former graffiti writer with aerosol you are well aware of your transition to Street Art and now public installations. How would you describe this evolution to another writer? HOT TEA: It’s the process of growing as a human being and adapting.
BSA:Your axonometric tagging goes across the painting that is in the museum with thread and needles rather than yarn. Is this the first time you have tagged in a museum? HOT TEA: My name actually doesn’t go across the painting – It reads “Bad Dreams” hence the title of the piece. As for having my work in a museum – I have never been one for labels because I have been called them my entire life. I don’t agree with places or people thinking they are higher or better than someone else because of their accomplishments or monetary value. My work has just as much meaning to me, no matter what the setting may be.
HOT TEA was curated by the co-founders of BSA, Steven P. Harrington and Jaime Rojo along with UN Artistic Director Yasha Young and the “UNSTOPPABLE” curatorial team for Urban Nation.
Hot Tea. “Bad Dreams pt.2 “Urban Nation Museum For Urban Contemporary Art. Berlin. September 16th 2017. Video via BrooklynStreetArt.com
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
