Welcome to BSA Images of the Week! And how beautiful this city is, even when the heat is on. The amount of talent on our streets is so overwhelming, thank you New York.
Here’s our weekly interview with the street, this week featuring: Homesick, Mort Art, Optimo NYC, Savior El Mundo, Neckface, Lungebox, DEK2DX, Hektad, Paolo Tolentino, Jappy Agoncillo, SMURFO, Mike King, Mat Lakas, Lasak Art, Snith Node, Big808, Talia Lempert, Individual Activist.
Welcome to BSA Images of the Week!
Not much to report this week.
Unless you’re talking about the seismic Supreme Court decision to take away people’s right to have a legal abortion in the United States. The topic immediately appeared in street art. Abortions will still continue in the US of course. Rich women will pay for them, and go back to church the following week. Senators and congressmen will pay for their girlfriends abortions, with a crocodile tear and a wad of cash. Poor women? Not a consideration.
Clarence Thomas took a swing at other Americans by hinting that same-sex marriage may be in jeopardy. He didn’t mention interracial marriage.
Because of this legal shock and its affect on people – It looks like we have another long hot summer coming. Protests in the streets will also take on a different caliber because Thursday the Supreme Court decided that people are entitled to carry guns openly on the streets.
What could possibly go wrong?
One street art text piece we caught yesterday just as the abortion decision was being announced is appropriately in Spanish. Que voy hacer con llorar? or “What good does crying do?”.
Here’s our weekly interview with the street, this week featuring: Captain Eyeliner, JJ Veronis, Modomatic, Voxx Romana, Hijack, Fear Arte, IMK, 3784, Jaw1, Smoe, JC3, Mayd1, Spot KMS Crew, Heavylox, and Bongggblue.
The curator/owner of this wall, Jessica Goldman, posted recently on social media that the famed graff/street art/mural wall is “on pause.” The street has its own ideas of course and the wall has been very active for the last weeks in an organic manner. As usual, beauty is in the eye of the beholder.
On a day in the United States with yet another mass shooting, this one at a synagogue in Pittsburg, JR has introduced a new massive artwork that talks about guns in America, a seemingly intractable, unsolvable issue that makes the country rank as one of the most violent year after year.
“It’s a metaphor of what’s happening in the US,” says photographer, filmmaker, Street Artist, and social commentator JR, who has just installed a new mural on the Houston Wall in New York City on a sunny Friday where hundreds of curious New Yorkers stop and examine the new artwork while heavy trucks, honking cars, and periodic police and fire alarms whiz by.
The night before at Pace Gallery in Chelsea the conservatively stylish French art phenom hosted an unveiling of the same image, rather a composited video of 245 separately shot moving images, projected across a huge wall in the space for guests to contemplate. A masterstroke of art and sociology, “The Gun Chronicles: A Story of America” presents opinions and perspectives from Americans across the range – hunters, victims, law officers, medical professionals, religious leaders, politicians, activists, surviving family members.
As we gaze at the quietly glowing and slowly moving images, we comment to the artist that it has a strangely calming and hypnotic quality, considering the range of deep feelings and emotions that the topic of gun violence engenders throughout the country, including many of these subjects. He tells us that he didn’t necessarily know the individual stories of everyone he was filming at the time of the sessions, but “I was aware of the emotions that were happening in many of the subjects. They were quite strong.”
By providing this very thorough collection of voices to be heard inside of one project, the artist enables viewers to truly countenance the complexity of a wrenching topic that much of the talking-head media flatly reduce to its simplest polarity. He walks on the sidewalk and rides in the lift carefully scanning the faces of the subjects and talks with the handful of them who have travelled here with him to watch the installation. In a way, JR is doing the job that many have been unsuccessful at; contemplating the vast grey area and finding common ground.
BSA: When you went into the project did you have one idea of the issue, but after completing it something perhaps changed in your mind about it? Was there something voiced by others that helped you understand how volatile the issue is?
JR: I think that when I got into this project I knew very little about the issue except what I heard in the media and it was really hard for me to understand, being French. To see how little kids could have access to such firearms and to see that such drama can happen across the country. So I really went naively trying to understand from every angle, every perspective, trying to learn from the people’s narrative, from the people’s story, and to hear what they have to say.
And it is interesting because you find a lot of common ground between people. There is fear, fear of the other, what people might say about them or about their beliefs and actually what I realized when you listen to a lot of the stories was that a lot of people would agree on a common ground that certain people should not have access to certain firearms and they would almost all agree to a certain regulation. It’s just that that conversation is not really happening. So I hope that this mural can be one part of starting that conversation between people.
A collaborative project with TIME magazine, the three-page fold out cover of the November 5th edition features a carefully diagrammed listing of all the participants on the reverse side. The website created for the project gives more depth into each individual.
By clicking on the person a visitor to the site will learn their name, age, and position professionally or in life – along with a concise recorded statement from the person. The voices are resolute, halting, tender, defiant, wisened, sobbing, proud.
The editor of the magazine Edward Felsenthal, recalls on the website that the cover of the magazine in June of 1968 also featured a contemporary artist for that time, Roy Lichtenstein, who “marked a series of heart-breaking assassinations” with his artwork on the cover with the title “The Gun in America.”
The artwork now hangs in the National Portrait Gallery and is as relevant 50 years later as the day it was published, with the new pluralic title of “Guns in America” today possibly referring to the measureless proliferance of weapons in the US over the intervening five decades, the $13.5 billion dollar revenue of guns and ammunition sold annually and the 263,223 full-time jobs related to the firearm industry. Guns are America.
“I shoot competitively all over the country… ,” says Rob Vadasz, 44, “a firearm is as engrained in our culture as almost any other part of the American story and it’s not something that can be turned off,” says a stern looking white man with short hair who is listed on the website as an agent for the U.S. Border Patrol in Tampa, Florida.
JR x Time “Guns In America”. Houston / Bowery Wall. New York City. (photo © Jaime Rojo)
For more on this project and to know about each of the subjects featured on the photograph and to listen to each of their stories and opinions on the issue click on the link below:
http://time.com/guns-in-america/
“Back in the USSR” comes to mind as we touched down in Moscow yesterday to see and speak with the 60+ Street Artists who are creating this impressive 2nd Street Art biennale “Artmossphere” just a stone’s throw away from the Kremlin, Red Square and The International Military Music Festival that runs all week as well. We’ll be bringing you new stuff all week as part of our partnership with Urban Nation Museum for Urban Contemporary Art (UN), investigating the creative process with artists, curators, and the organizing force behind all of this event.
In the mean time, we bring you work from New York and elsewhere in this week’s fine edition of BSA Images of the Week.
So, here’s our weekly interview with the street, this week featuring Aduk, Buff Monster, Crisp, Hiss, Lena Shu, Logan Hicks, Olek, and Wolfe Work.
Our Pink House is a new crocheted covering for a house (the second) by Street Artist OLEK – this one associated with Kerava Art Museum’s upcoming exhibition Yarn Visions, which will place the spotlight on knitted, crocheted, tufted and embroidered works.
Drawing an analogy of protection and safety in these pink crocheting patterns that stretch from the top of the chimney to the foundation of stone, this building in Kereva in southern Finland, where many bombs fell during The Winter War of 1939-40. Olek says she is concerned about the 21 million people worldwide who lost their homes due to war and conflicts in 2015 and she wants to create community based projects like this one to draw attention to the topic, and to provide some healing as well.
This particular project enlisted the help of a large group of volunteers, immigrants and women from a reception centre for asylum seekers who she brought together to crochet this covering. “Our Pink House” is about the journey, not just about the artwork itself. It’s about us coming together as a community. It’s about helping each other. We can show everybody that women can build houses, women can make homes,”she says. – OLEK
The Houston Street Wall took a turn for the abstract, atmospheric, and the futurist imaginings of New York artist Futura these last few days. Pushing his own borders and in a reductionist state of mind, the graffiti writer abandons the splashy colors and recalls the monochrome pallet of the NYC train yards he ventured into as a teen; black of night, steel grey, the glint of light on the tracks that lead out through the city.
Stepping back and leaning in you can see the exposed vertical trussing of an NYC that always under construction with cranes stirring the sky; once building factories now high-rises and thin ultra luxe finger towers, these steel structures are adorned with ivy, razor wire, plastic bags fluttering in the gritty breeze.
As he sat cross-legged on the pavement before his “Concrete Jungle” for a cluster of photographers while holding open the double page spread of his 1980 train paintings, “Break,” only Martha Cooper could claim to shoot both this scene and the one thirty five years earlier.
This wall can sometimes feel like a backdrop for a family reunion, with all manner of friends, associates, peers, culture critics, photographers, fans, family, writers, photographers, fashion models, and selfie-stick carrying tourists stopping by to check the progress and say hello.
With hometown hero Futura at the brush, this heart of a concrete jungle becomes more of resting place by a tree, a welcoming urban oasis without the rose-colored glasses. Actually, now that you think of it, this guy posing gamely with open arms and happily signing your sketchbook or dollar bill does have red reading frames on, and his New York stories smooth over the rough patches and frequently look for a positive tone to strike.
As you see him painting and creating his massive piece in-the-moment here while people swarm by, cars honk their horns, trucks roar their engines, and sirens scream, it strikes you that this is New York then and this is New York now, thanks to the truly contemporary Futura.
All American Temper Tot is the name of the new installation by Street Artist Ron English on the Houston Bowery Wall in Manhattan, and the US flag-based design may be comforting to the average patriotic New Yorker until you realize he is offering a not-so-subtle critique of mindless consumerism that indicts probably everyone who passes it. Part of his Popaganda series, a sort of retrospective of it actually, the famous subverter of billboards has just delivered a one-two punch to the culture of comfortable consumerism that reduces all life experiences to a commodity.
The enormous nose-tweak is more ironic perhaps on this island that has raised its rents so high that most artists have had to abandon it and little genuine Street Art actually is on its walls anymore. This particular high-profile spot has become revered not only because of its lineage of Street Artists (Haring, Scharf, Faile, Fairey, HowNosm, Swoon among others) but because greed and gentrification has effectively wiped out the sort of organic scene that gave it birth.
While some passersby will see references to Jasper Johns here we are reminded of another more grassroots politically satirical flag. As early as the 1990s we began to see anti-corporate protesters carrying flags with the stars replaced by corporate logos and those may be a closer analogue to the stripes on display here.
In the last decade and a half as media was consolidated into a fewer hands and tabloid TV began serving up absurdity as normality, everything from pesticides to wars to gas fracking became slickly commercialized products to brand and sell and artists like Ron English has been drawing attention and alerting the public to the mindless consumers that we are becoming via his postering and illegal billboard “takeovers”. With playful parody on fast food purveyors, sugary cereal sellers, and right wing news channels, these were more comedic satire like those you may find in MAD magazine than the pointed approach of early 1970s takeover artists like “The Billboard Liberation Front” or the full frontal lobe subvertising of folks like the Adbusters.
In one more twist to this new wall story, a few will undoubtedly argue that this installation is also a billboard advertisement itself since a print of the piece went on sale this week on the artists website, and it’s central figure, the Temper Tot, is also a 3-dimensional vinyl toy that is highly collectible. But not everyone is scandalized by this — the print already sold out. This is the soup we are all swimming in – even while the little green hulking monster baby flexes his muscles and trembles with fury at what has been happening to that flag behind him.
Like his site says in the sales copy for the toy “The only thing worse than a toddler with a tantrum is a very STRONG one!” Terrifyingly strong and terrifically immature, don’t get in the way of this well armed boy nearly popping off the wall and running across Houston Street to punch someone’s lights out. English has poked his finger in the chest of popaganda and we all will see how it responds.
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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
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This article is also published on The Huffington Post.
Happy New Year to All! Thank you for inspiring us to do our best and to those of you who continue to support our personal art project / cultural examination, we extend our gratitude more than ever.
Begun as an enthusiastic discovery of what was happening in a few neighborhoods in New York, we continued to expand our view into more cities around the world last year and into the history and future of the scene. We also aimed to provide you with a critical platform for examination of the street art/ graffiti / public art/ contemporary art continuum with interviews with artists, curators, collectors, organizers, observers and thinkers in the street, studio, gallery, and museum – trouble makers and taste makers alike.
In the end, it’s your observations and the conversations on the street that are most important. As we begin the year with over 300K fans, friends, and followers on social media platforms and 225 articles on the Huffington Post (thanks HuffPost team!), we feel like we get a valuable good survey of current opinions heading our way daily.
With in-depth interviews, investigative articles, opinion infused examinations, plain celebratory reverie, occasionally silly non-sequitors, and public appearances where we get to meet you, we get a good analytical look at an ever-evolving movement, glittery polish and warts and all.
As the new year begins we take a look back at the top stories chosen by BSA Readers in the last 12 months. Among them are two takeover pop-up shows in soon-to-be demolished buildings, a story about commercial abuse of artist copyrights and the effort to fight back, a street art community’s response to the sudden death of an activist street artist, a Street Art tourist trip, and a few inspirational women, men, and Mexican muralists. Even though we published at least once a day for the last 365 days, these are the most popular pieces, as chosen by you, Dear BSA Reader.
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In what could be charitably described as a sign that Street Art has entered a new phase of cultural acceptance and appropriation, some creators of art in the public sphere are attempting to lay legal claim to the profit-making that they didn’t necessarily sign on to. In just the last few months a handful of artists from New York, Los Angeles, and Buenos Aires have discovered their murals have been used in fashion, music, and cinema to great effect, but sadly, they say, without their knowledge or permission.
Of course this sort of inspiration/appropriation has been going on for years – if you want to meet models on the sidewalk just move to Bushwick, Brooklyn and you’ll probably accidentally end up in a fashion spread yourself. Here is where countless fashion shoots, video shoots, movie scenes all happen continuously and money is exchanging hands to make it happen – just not for the artists. Usually they are essentially unpaid, uncredited backdrop artists for the edgy “street” fantasies of stylists.
The courts ultimately will have to decide the relevance of these recent claims but the topic does raise fascinating questions about public space, intellectual property, copyright, and the reasonable expectations of the artists once their work is set free into the streets. In these cases the artists had permission and encouragement to create their works and perhaps thousands of images of the works are in existence since the work is made public. The concern here is raised once those images are privatized or pass into the purely commercial world of selling product.
More interesting will be to see if these lawsuits will extend in the future to include the unsanctioned, un-permissioned, acts of vandalism that appear on private property as well. Will artists seek protection from a legal system they actively transgressed? Can the pieces of art placed illegally be re-claimed by the artist when the work is found printed on a lycra bodysuit or embossed on a wallet? If so, how will the artist claim ownership?
Here are just three recent examples of lawsuits reportedly being filed by artists laying claim to the benefits of their work.
Street Artist and fine artist Maya Hiyuk is reportedly suing pop star Sara Bareilles, Sony, and Coach for using her Houston Street wall in New York as a back drop to sell their products.
MSK crew members Revok, Reyes and Steel have filed a claim saying that designer Roberto Cavalli was a little more than just inspired by their collaborative mural in San Francisco when designing a line for his “Graffiti Girls” collection sold through the website. A quick Google search shows that the line extends to clothing, accessories, sneakers, even a phone case and is sold at stores like Nordstom, Neiman Marcus, and online giant Amazon.
Worse, says the claim, “Sometimes, Cavalli added what appears to be a signature, creating the false impression that Roberto Cavalli himself was the artist.”
An view of the original wall by Revok, Reyes and Steel (image © MSK) and a screenshot of one of the dresses for sale at Cavalli’s website.
See more about this at Mass Appeal.
Street Artists and muralists Jaz, Ever, and Other are suing for copyright infringement because the newest Terry Gilliam (Twelve Monkeys, Brazil) film The Zero Theorem allegedly featured a mural that looks startlingly similar to one they painted together in Buenos Aires about four years ago.
You can actually still see a number of stills from it it on The Zero Theorem Facebook page right now if you like.
See a pdf of the lawsuit here.
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Whose voice gets to be heard, and at what cost? It’s an ongoing battle with companies and politicians and citizens fighting to control the radio airwaves, broadcast television, cable providers, news outlets, the Internet. In the conversations that take place on walls in public, the struggle is just as strong and often as vehement. We just aren’t happy when somebody else gets the mic if we can’t grab it and rock it too.
A couple of recent visual disruptions of Street Art installations have us thinking about the need to be heard at the expense of an artist’s work mostly because we learned about them both within a few days of each other. Maybe it was the amount of time and labor that went into the walls, or maybe it’s because it can still be shocking even when you know it goes along with the rules of the street.
It’s always been part of the game; once you put it on the street you must be prepared to let it go, even though you secretly hope it will ride a while. Without doubt it will be buffed, slashed, ripped, taken, crossed out, tagged over, and deteriorated by the elements. If you’re going to play, you might get played and most artists know it and accept it.
The Houston Street wall in Manhattan has become a touchstone for many a graffiti and Street Artist over the last few decades thanks to its early beginnings as a canvas for artists like Keith Haring and Kenny Scharf and because as Soho and the Bowery gentrified most available walls disappeared. Now its an honor to get chosen to do your thing on the wall, even as it often provides a stage for the the still breathing battle between some graffiti writers and the rest of the Street Art making world.
Before the latest painter finished her piece last week, Maya Hayuk found her eye crossing color jam geometry had some unexpected collaboration. It’s not the first time Street Artists have been hit by graffiti on this wall; Shepard Fairey’s installation famously got hit so heavily that holes were literally punched into the wall, and Swoon’s community collabo with the Groundswell kids got wrapped with a thick belt of throwies last fall.
Hayuk tried to shrug it off like a champ and uttered a few terse words – but ultimately recovered her poppy patterning and finished the wall victorious.
The new tagging on Hayuk’s wall brought a fussilade of opinions, wizened philosophical observastions and bromides on social media, including this sampling from Instagram:
After completing the new wall and taking a bow, it was hit again. This time harder.
The tags are mostly unreadable to the average public passerby, but it is not those people who these additions are usually speaking to but rather to their peers. So the collaboration is insistent, and in some way perfectly New York.
The other sanctioned wall we’ve been thinking about is in Rochester – still in New York State, but close to the border of Canada and near Lake Ontario. Faring Purth took a long time to finish this long limbed lady throughout the autumn months, enduring wayward comments, praise and sometimes harsh words from this upstate community who liked yelling things out their car (and school bus) windows as they drove by. “I received equally supportive and hostile attention from the public while I was painting her. It was a new experience in more ways than I can count,” she says of the mural that measures 12 feet high by 125 feet long,
Ultimately the religious contingent who had badgered previous visiting artists in Rochester over perceived thematic threats to family values tagged the face of her “Etty” and put a rudimentary cross in her hand when Faring had gone a way. This was a different sort of diss. It wasn’t a turf battle, it was a theological one and more broadly, it was about community norms. As in the case of Hayuk, the aerosol writer may not even have been addressing the artist or even known who she was. They may have been just striking a victory for the Lord against the evil of the art. Who knows?
Also like Hayuk, Ms. Purth decided to repair her work.
“I fixed her. Or rather, changed her, before hitting the road. She’s different now, it taught me a great deal. So finally, stitches and all, here she is.”
There is no real end or summation to this story and these two recent examples are merely a fraction of the works that get tagged or crossed out every day. It is interesting to note that although the motivations were different for the people who defaced the mural art, the aerosol tool used to express their opinion was the same. Additionally let’s all recognize the sublime irony that we are perilously close to using the word “vandalism” in this article.
But in a way, it is still about having a voice and using it, however edifying or injurious. The continuous cycle of constructive and destructive, adorning and scarring, speaking and silencing, is likely to continue as long as artists create in the street. As long as people have a need to be heard, they are going to find a way to get their voice out there.
For more on Faring’s wall please see
Maya Hayuk on the Houston Wall this week got tagged mid-job, took a moment and repaired and continued on to completion in signature glowing dripping geometrically teXt-driven style, Ben Eine ISHued a jab at entertainment culture, and QRST made a reappearance with a hand-rendered reminder of temporality on a bus stop, saw his shadow and went back into a hole.
Here’s our weekly interview with the street, this week featuring Alice Pasquini, Ben Eine, Bone, Bradley Theodore, Ellis G., Issa, Jilly Ballistic, Maya Hayuk, and QRST.
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Here it is! Our 2013 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, snapped one second before he was singled out of a New York crowd, handcuffed, and stuffed into a police car – sort of like the Banksy balloons he was capturing.
“Among all the thousands of photos I took this year there’s one that encapsulates the importance of Street Art in the art world and some of the hysteria that can build up around it,” he says of his final shot on the final day of the one month Better Out Than In artist ‘residency’ in NYC this October. It was a cool day to be a Street Art photographer – but sadly Rojo was camera-less in a case of mistaken identity, if only for a short time.
Released two hours later after the actual car-jumping trespasser was charged, Rojo was happy to hear the Chief Lieutenant tell his officer “you’ve got the wrong man”, to get his shoelaces back, and to discover this photo was still on his camera. He also gets to tell people at parties that he spent some time in the holding cell with the two guys whom New York watched tugging down the B-A-N-K-S-Y.
What’s everybody looking at? Jaime Rojo’s favorite image of the year at the very end of the Banksy brouhaha. (photo © Jaime Rojo)
Now, for the Video
When it came to choosing the 112 images for the video that capture the spirit of the Street Art scene in ’13, we were as usual sort of overwhelmed to comb through about ten thousand images and to debate just how many ‘legal’ versus ‘illegal’ pieces made it into the mix. Should we include only images that went up under the cover of the night, unsanctioned, uncensored, uncompromised, unsolicited and uncommissioned? Isn’t that what Street Art is?
Right now there are a growing number of legal pieces going up in cities thanks to a growing fascination with Street Art and artists and it is causing us to reevaluate what the nature of the Street Art scene is, and what it may augur for the future. You can even say that from a content and speech perspective, a sizeable amount of the new stuff is playing it safe – which detracts from the badass rebel quality once associated with the practice.
These works are typically called by their more traditional description – murals. With all the Street Art / graffiti festivals now happening worldwide and the growing willingness of landlords to actually invite ‘vandals’ to paint their buildings to add cache to a neighborhood and not surprisingly benefit from the concomitant increase in real estate values, many fans and watchers have been feeling conflicted in 2013 about the mainstreaming that appears to be taking place before our eyes. But for the purposes of this roundup we decided to skip the debate and let everybody mix and mingle freely.
This is just a year-end rollicking Street Art round-up; A document of the moment that we hope you like.
Ultimately for BSA it has always been about what is fresh and what is celebrating the creative spirit – and what is coming next. “We felt that the pieces in this collection expressed the current vitality of the movement – at least on the streets of New York City,” says photographer and BSA co-founder Rojo. It’s a fusillade of the moment, complete with examples of large murals, small wheat pastes, intricate stencils, simple words made with recycled materials or sprayed on to walls, clay installations, three dimensional sculptures, hand painted canvases, crocheted installations, yarn installations etc… they somehow captured our imaginations, inspired us, made us smile, made us think, 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.
Brooklyn Street Art 2013 Images of the Year by Jaime Rojo includes the following artists;
A Dying Breed, Aakash Nihalini, Agostino Iacursi, Amanda Marie, Apolo Torres, Axel Void, Bagman, Bamn, Pixote, Banksy, B.D. White, Betsy, Bishop203, NDA, Blek le Rat, br1, Case Maclaim, Cash For Your Warhol, Cholo, Chris RWK, Chris Stain, Billy Mode, Christian Nagel, Cost, ENX, Invader, Crush, Dal East, Damien Mitchell, Dase, Dasic, Keely, Deeker, Don’t Fret, The Droid, ECB, el Seed, El Sol 25, Elbow Toe, Faile, Faith 47, Five Pointz, Free Humanity, Greg LaMarche, Hot Tea, How & Nosm, Icy & Sot, Inti, Jilly Ballistic, John Hall, JR, Jose Parla, Judith Supine, Kremen, Kuma, LMNOPI, London Kaye, Love Me, Martha Cooper, Matt Siren, Elle, Mika, Miss Me, Missy, MOMO, Mr. Toll, Nychos, Okuda, Alice Mizrachi, OLEK, Owen Dippie, Paolo Cirio, Paul Insect, Phetus, Phlegm, Revok, Pose, QRST, Rambo, Ramiro Davaro, Reka, Rene Gagnon, ROA, RONES, Rubin, bunny M, Square, Stikki Peaches, Stikman, Swoon, Tristan Eaton, The Lisa Project 2013, UFO 907, Willow, Swill, Zed1, and Zimer.
Read more about Banksy’s last day in New York here and our overview of his residency in the essay “Banksy’s Final Trick” on The Huffington Post.
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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
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This weekend Halloween began early, and with Banksy leading the way on Friday night, it looks like there will be more tricks in store before the end of October (Thursday). Another surprise came when Swoon took her turn at the Houston wall. As of right now, everyone is keeping their eyes open for what will happen next. Here’s our weekly interview with the streets, this week featuring Banksy, Blanco, HDL, JR, London Kaye, and Swoon.
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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
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BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
