Welcome to BSA’s Images of the Week. We decided to dedicate this weekly survey to the artists of “Return 2 Burn”, its organizers, and the streets that brought us here.
The new “Return 2 Burn” exhibition at the old train station in Hunts Point, Bronx, serves as a modern continuum of pivotal artistic moments from New York’s vibrant past, echoing the groundbreaking energies of the Fun Gallery, The Times Square Show, and initiatives by Collaborative Projects Inc. (Colab) and Fashion Moda. These seminal venues and events of the early 1980s, such as the Fun Gallery (1981-1985) and The Times Square Show of 1980, were instrumental in merging the diverse cultural and artistic energies of “uptown” and “downtown” scenes. They featured artists whose names would become prominent, like Jean-Michel Basquiat, Keith Haring, Futura, Rammelzee, Crash, Jenny Holzer, and many others whose work intertwined and intersected with the emergent graffiti and street art movements against a backdrop of punk, hip-hop, and an unprecedented cultural fusion that was happening across the city.
This week, the art world mourned the loss of Patti Astor, the trailblazing founder of the Fun Gallery and a pivotal character in Charlie Ahearn’s iconic film “Wild Style.” Her legacy, which has deeply influenced the intersection of hip-hop, graffiti, and urban culture, remains a testament to her visionary impact on New York City’s vibrant art scene.
“Return 2 Burn” builds upon this legacy by featuring contemporary and enduring artists from those earlier movements like Skeme, Tkid 170, Martha Cooper, John Fekner, and Al Diaz—who notably co-created SAMO tags and cryptic texts on the street with Basquiat—linking the historical narrative of New York’s street art from its inception to the present. These artists’ work stood alongside others such as Chris from Robots Will Kill, Indie, Buff Monster, UFO907, and Wane for the vibrant opening night, celebrating an ongoing narrative of experimentation and discovery in the street art/graffiti scene today across this city’s boroughs. The atmosphere was electric, charged with the energy of fans, collectors, storytellers, and historical figures of the graffiti and street art scene.
This collection of photos was shot while the exhibition was still being assembled—”work in process” shots. Their sometimes raw quality signals that the exhibition is a living entity produced by many hands; curator Robert Aloia says it is expected to evolve throughout the spring and summer.
The opening night crowd underscored the exhibition’s role as more than just a collection of artworks but also a gathering place for the community and a hopeful signpost for our collective creative future as we enter such uncertain times. It is a testament to the evolution of graffiti, street art, conceptual art, sculpture, public art, and muralism and their enduring significance in urban culture and public dialogue. The installed pieces—captured before the doors officially opened—are a diverse and dynamic reflection of the art movement, a snapshot of this moment at this location that recognizes the hundreds of artists whose work is on New York streets at any moment.
Through the visionary efforts of curators like Robert Aloia and Jennifer Giraldo of Outlaw Arts, and their collaboration with Majora Carter and James Carter of Bronxlandia, “Return 2 Burn” reminds us how exhibitions can serve as cultural synthesizers. The dedication of independent curators and organizers ensures that the legacy of New York’s unique art scene not only persists but also adapts and thrives, engaging new generations of artists and audiences alike. Moreover, the vital role of those who document, write about, and archive these events is crucial; without their work, such exhibitions’ rich history and transformative impact would not be preserved.
New York City has consistently nurtured subcultures by providing ample space, resources, and an environment conducive to growth—a spirit deeply embedded in the Punk D.I.Y. tradition. This creation of spaces for artists truly captures the essence of the city. And while we appear to be losing gallery spaces, we always have the streets. In New York City, D.I.Y. isn’t just a concept—it’s synonymous with NYC itself.
Skeme creating his latest for “Return 2 Burn”. Skeme, known as “Skeme the 3 Yard King,” is a prominent graffiti artist, celebrated within the graffiti community for his work in New York City during the movement’s early days. He was featured in the documentary “Style Wars,” a seminal film directed by Tony Silver and produced in collaboration with Henry Chalfant. The film is significant because it was one of the first documentaries to capture the graffiti subculture of New York City in the early 1980s.
The lineup includes: Aiko, Al Diaz, Austin Pinon, Basie Allen, BlusterOne, Buff Monster, Camella Ehlke, Cassandra Mayela, Chris RWK, Dr. Revolt, Faust, Ghost, Giz, Indie 184, JJ Veronis, John Fekner, Jon Burgerman, Judith Supine, Kade198, Lamour Supreme, Martha Cooper, Matt Siren, Modus, Peter Paid, Pork, Queen Andrea, Roycer, Saman & Sasan Oskouei, Sheryo & Yok, Skeme, Tkid, Totem, UF0907, VFR, and Wane One
“Let Her Be Free” chronicles the journey of Iranian brothers Icy and Sot as street artists and the evolution of their work over the decade from the mid-2000s to the mid-2010s. The book showcases the brothers’ activism through their art and their efforts to bring attention to many important social and political issues, including human rights, women’s political and personal autonomy, environmental justice, migration, gun violence, capitalism, the effects of war, homelessness, police brutality, the Palestinian-Israeli conflict, free speech, and child welfare.
Growing up in Tabriz, Iran, Icy and Sot participated as teens in a street culture that encompassed skateboarding and a slowly burgeoning street art scene, perhaps feeding their desire for self-expression and personal activism. They began experimenting with different techniques and styles in places like Tehran, where local artists like A1one, Magoi, CK1, and Bigchiz dominated the street art scene, in turn inspiring others. As news of the emerging growth of street art in the West gained cultural currency on the Internet, the brothers were also influenced by international street artists such as Banksy, whom they looked up to as role models.
To learn more about the Martha Cooper Library at Urban Nation Museum Berlin and to continue reading the review, click HERE to go to the Urban Nation website.
Situated in the North Sea, 18 kilometers west of Haugesund, Utsira epitomizes Norway’s maritime heritage in Rogaland County. As the county’s smallest municipality, this 6.15-square-kilometer island with around 200 residents is deeply rooted in Norge traditions. Its historic dual-tower lighthouse has guided North Sea vessels since 1844.
Utsira not only boasts natural beauty and wildlife, including migratory birds and local livestock, but also showcases innovative sustainable energy projects, like their wind and hydrogen initiative from the early 2000s. Its archaeological treasures, from stone rings to burial mounds, echo the island’s deep heritage. Embracing both the old and new, Utsira has attracted international street artists here since 2014, enhancing its cultural tapestry. To experience this unique blend, take a ferry from Haugesund.
Icy & Sot, Issac Cordal, Pichiavo and Borondo have all created artworks here, so have SNIK, Hama Woods, and JPS, and several others during the last decade. The names are only as important as their proximity to a fan, as it turns out. As you cycle along the narrow winding roads or trek up the rocky hills, you might overlook it at first, but there’s likely a piece of street art nearby – just beyond where those two rams are butting heads.
Visiting the Utsira island for the first time in August of that year, public art curators and organizers Tor Ståle Moen and Borghild Marie were very curious about how the islanders would react to their idea. Would they welcome or resist the idea of bringing street artists to paint old barn doors or enormous seaside boulders in this pristine and remote home to 211 people?
“The island was 100% “clean” from any tags, graffiti, and street art,” says Tor. “They didn’t even have the names of their streets at that time.”
The magnetic charm of the island’s pristine beauty, deep-rooted history, and innovative spirit drew the duo back, time and again, to see more of the terrain and classic Norwegian architecture, and close-knit community. Over the span of a decade, people here warmly welcomed a handpicked ensemble of street artists, each personally cherished or inspiring to the pair. First-timers on the island are now treated to a subtly integrated treasure hunt of site-specific artworks tucked away and openly displayed in equal measure. The island’s lively art program has quietly become a shining example of how tight-knit communities can joyfully embrace the language of street art, all while celebrating and safeguarding their rich cultural heritage.
“The white-painted picturesque old-fashioned Norwegian wood houses were perfectly blended with the green and grey colored landscape,” Tor says of the environment where he and Borghild first inquired about their idea. “The answers came quickly as many people were interested in observing one of the artists while they were painting—and they positively commented on their art.”
“The oldest person living on the island, Tobias, was 87. He approached us and said, ‘There are too many grey walls in this world. Would you like to come over to my house and paint my wall in front?’ Of course, we reacted positively, and the artist ‘3 Fountains’ painted two kissing kids in front of his house. Tobias both smiled and had tears in his eyes when he saw the piece for the first time,” says Tor.
“‘Now, doesn’t the wall look much better?’” Tobias told Tor. “I used to work as a sailor back in the day, and I have seen street art in New York, Rio De Janeiro, and other cities back in the 70’s and 80’s. Finally, I can now see street art on my island. Thank you very much.”
We spoke with Tor Ståle Moen and Borghild Marie as they prepared to celebrate ten years of curating street art on the island of Utsira and asked them about their experiences there.
BSA: What were the origins of bringing street art to Utsira? How was the idea formed and presented? TSM & BM: Several of Tor’s street art friends wanted to come to Stavanger to paint, but Stavanger already had a festival curated by NuArt. Borghild Marie knew Utsira, with its unique environment and engaged population with Tove Grimsby as a passionate doer. So she wrote Tove, and asked if this tiny Island without street names wanted some street art. The answer was loud and clear: ‘Yes, please!’
BSA: Does the project rely on public funding? Is there funding coming from private donors? TSM & BM: The project has been supported by both public and private funding, but primarily with public funding, the Utsira municipality and the region of Rogaland as major donors. But private donors have helped with labor, material, food, housing, and support with travel costs, etcetera. The whole island has contributed, and we have as well.
BSA: Who is the project manager or director? Is she/he/they based in Utsira? TSM & BM: It’s more of a committee work, and by now, all involved are locals. We contribute as advisors when needed.
BSA: Can you speak about the residents and their involvement in the process? Did they have strong opinions in favor or against bringing street art to their island? TSM & BM: The islanders have greeted the art and artists, with great warmth. They have baked cakes, cooked dinners, taken the artists fishing, and invited them to their homes. Many of the artists have engaged in teaching art techniques at the school, and Icy and Sot conducted a beach cleanup together with the islanders.
BSA: Can you describe the collaboration between Martyn Reed, who ran the Nuart Festival based in Stavanger, and this Utsira project? How has the project evolved over time? TSM & BM: Nuart was invited to promote the events mutually to strengthen the whole region’s identity as a street art location, but their contribution is very limited.
BSA: What’s the process of extending an invitation to an artist to participate? It is such a remote location – how does the artist live there, and who do they interact with? TSM & BM: They have been housed in various ways, but most have stayed in the “artist in residence” space at the lighthouse.
BSA: Can you speak more about how residents have welcomed the artists and offered assistance or volunteered to help? TSM & BM: As answered above, the response has been overwhelmingly engaged and heartfelt. Many have contributed with gear (ladders, etc.), food, friendship, nature experiences, babysitting, etc. They express gratitude because the art enhances the everyday life on the Island, bringing new impulses and people to the Island.
BSA: The project is now in its 10th anniversary and recently, the British duo Snik painted on the island. What are the plans for the future? TSM & BM: We don’t know, but we have our eyes on big names who suit the Island well.
BSA: On a personal level, what does the project mean for you two, and how involved are you presently in bringing more artists to Utsira? TSM & BM: We have a deeply felt love and passion for Utsira and will support the project with our network and advice. But it is equally important to us that the islanders own the event. It’s their environment, and the art should live and breathe their voice and pace.
Back in April, we wrote about Saman & Sasan Oskouei’s new hardcover, self-published book Object / Subject here on BSA. Today we are happy to announce the dates of the book launch this weekend.
OBJECT / SUBJECT Saman and Sasan Oskouei’s latest book featuring almost a decade of their work with an essay by Carlo McCormick
Object / Subject Saman & Sasan Oskouei Book Launch IRL Gallery 15 Monroe St New York, NY 10002 Opening Reception: Friday May 12 6-8pm Saturday May 13 2-6pm
OBJECT / SUBJECT
191 color pages, Hard cover 30 x 23 cm Edition of 1000 Printed on 12 different dead stock papers Designed by Daniel Kyn ISBN 978-87995820-9-9 Text in English May 2023
Welcome to BSA Images of the Week. We begin with a series of shots from an outdoor exhibition on Governors Island right now. Timely, political, educational, and powerful; “Eyes on Iran” is an excellent opportunity to contemplate the values we say that we honor and are willing to fight for. It is also an opportunity for Iranians in New York to speak up regarding the ongoing protests in their home country to clarify what the issues are.
On a cold but sunny December day, it is also gratifying to see such visual eloquence in the public space. From the description: “Amplifying the critical movement of Woman, Life, Freedom, the exhibition ‘Eyes on Iran’ seeks to hold the world’s gaze on the unfolding revolution and human rights abuses in Iran, while continuing to demand effective action. With the installation facing the United Nations, the location of the installation calls for direct accountability required from the U.N and their respective global leaders.”
Artists include Sheida Soleimani, Aphrodite Désirée Navab, Z, Icy and Sot, Shirin Neshat, Mahvash Mostala, Sepideh Mehraban, Shirin Towfiq, JR, and conceptual artist and co-founder of For Freedoms Hank Willis Thomas. We share a few of them here with you.
And following those images we give you a few others from our weekly interview with the street, this week featuring: Faile, Glare, Short, Bumer, Randy, and Sidk.
Shirin Neshat. A stark black and white photograph of the artist’s eye inscribed with farsi calligraphy with an excerpt from the Iranian female poet Forugh Farrokhzad’s poem “I Pity the Garden”.
Icy and Sot created “Bricks of Revolution” to “represent the strength of the activists who are currently risking their lives, inside and outside prisons, to fight oppression. This installation is an homage to political prisoners and all those paving the way to revolution in Iran.”
Aphrodite Desiree Navab’s installation is appropriately timed with the Winter Solstice. On this night, Shab-e-Yalda, meaning “Night of Birth” in Farsi, Iranian girls tie colorful ribbons to trees, making wishes. As an Iranian-born, NYC-based artist and activist protesting in solidarity with Iranian women, my one wish is for women to live life in freedom. The bandanas are the colors of the Iranian flag -green, white, and red. However, they do not have symbols of either theocracy or monarchy at their center, but instead have one word in Farsi: meaning woman.
In addition to addressing a common narrative, thematically curated group shows can draw attention to contrasts in style and present something that unified to the visitor. A new women-centered project opening at the end of the month in Roubaix, France, aims to draw similarities and differences among a variety of street artists to create a dialogue about how women are depicted in public space.
Guerrilla Girls. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)
Using new and borrowed art pieces, curator and art dealer Magda Dansyz fills a 15,000 square foot exhibition space at La Condition Publique, a culture factory that inhabits an historic former wool and cotton processing facility and is now a venue for artistic creation. “I have been working for a year now about the place and representation of women in the public space through the light of street art practices,” she says about Urbain.es and the nearly 30 artists whose work is here.
They span perhaps 40 years of street practice from risk-taking activists to self-promoters leveraging activism as a brand builder, to more subtle artworks in the public sphere that raise incisive questions about perceptions of women in society.
YZ. Empress Ozoua, 2022. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)
“In a variety of forms, the exhibition presents in situ works, original art pieces lent by the artists or private and public collections, as well as documentary testimonials retracing historical urban performances,” says a text from the organizers. Exciting highlights include the inclusion of works by true old-school billboard activists like the Guerrilla Girls who for decades have been confronting art institutions for systemic sexism, the 1970/80s NY graff writer Lady Pink who painted trains in a male dominated subculture, and Yseult YZ Digan, whose painterly depictions of women represent a quieter tribute to the strength and steel of women that appears through many cultures, often overlooked.
Artistes I Artists Yseult YZ Digan, eL Seed, Guerilla Girls, Maya Hayuk, Icy and Sot, Invader, Mark Jenkins et Sandra Fernandez, JR, Kubra Khademi, Lady Pink, Madame, Miss.Tic, Miss Van, Mode 2, Robert Montgomery, Eko Nugroho, Obvious, Quik, Edmond Marie Rouffet, Magda Sayeg, Saype, Swoon, T-Kid, Aya Tarek, Amalia Ulman, Zevs
Icy & Sot. Emancipate 2020. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)Swoon. Dawn and Gemma 2014. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)Mark Jenkins & Sandra Fernandez. The Secret, 2022. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)Mark Jenkins & Sandra Fernandez. The Secret, 2022. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)Mark Jenkins & Sandra Fernandez. Urbain.Es. Magda Danysz in conjunction with La Condition Publique of Roubaix in France. (photo courtesy of Magda Danysz Gallery)
URBAIN.ES
Exposition collective sous le commissariat de Magda Danysz Group Show curated by Magda Danysz
Du 31 mars au 24 juillet 2022 From March 31st to July 24th, 2022
Click HERE for more information and a complete preview of the artworks.
In a space massive enough for a Dutch sea vessel, the Street Art Museum of Amsterdam (STRAAT) has one of the largest collections of today’s mural stars anywhere. During its official maiden voyage, curious street art/graffiti/contemporary art fans look to see if this ship is seaworthy. The brainchild of former graffiti writer, curator, and publisher Peter Ernst Coolen in the early 2010s, the D.N.A. of the museum is rooted in his forward vision as much as the ideal waterfront warehouse that showcases close to 200 international artists.
STRAAT Museum of Amsterdam.
Housed in a massive yet austere ship hull-welding hanger that closed in the 1980s, the airy space later hosted flea markets and similar events. Today the STRAAT is evolving into something more closely resembling a museum space due to recent structural and lighting improvements, but it hasn’t become a white box. If its origination story of punk culture, D.I.Y., and a well-loved graffiti Hall of Fame still holds water, this street art home by NDSM Wharf has the potential to be a world-class icon that retains credibility and out-paces other contenders.
The museum delivers a promise with a significant renovation, focused programming, public/private tours, an investment in marketing, branding/partnering, a sexy website, invited curators, and (no Banksy jokes, please) a gift shop. We’ve encountered the palpable energy of the select crew of creative directors, curators, content creators, and experience managers over the last few years. There is the desire to forge a soul of the new enterprise, as helmed by Coolen’s original business partner and civil engineer Peter Hoogewerf.
STRAAT Museum of Amsterdam. Kobra on the facade.
To appreciate where it may be heading, you now have a guidebook of works by the 200 or so artists who have created canvasses and sculpture here in the permanent collection. Given the wide span presented, the challenge will be to define a direction for this 8000 square meter shipyard space – aside from merely offering a broad survey of current names on the global stage.
STRAAT: Quote from the Streets (Lannoo Uitgeverij) is the name of the opening exhibition and a thick softcover tome of attractive art plates. It offers a collection of artists’ profiles, reflections, and artworks laid out in a spare and modern way, allowing the mind to wander or rest. With an intro by curator and founder of the Paris-based agency Le Grand Jeu Christian Omodeo, the travel/street art blogger Giulia Riva and writer Giovanna Di Giacomo are authors. Their essay explains that the STRAAT collection is organized here according to categories of Aesthetic, Ground, Empathic, and Conscious – with detailed descriptions of the respective characteristics and rationale laid out in the opening texts.
Sliks. STRAAT Museum of Amsterdam.
The range of styles and techniques here mirrors many of the mural movements on streets around the world today. The writers give valuable contextual background for decoding what often are high-quality artworks. A unifying and concise overview of each artist is a supporting firmament with enough academic rigor to enlighten the reader – no small feat in a world populated with fanboys and pseudo-intellectualizing. Because of it, this introduction to the museum is more than average data reportage – helping to broaden understanding of this multi-headed hydra called the street art scene. With a firm grip guiding the rudder, this ship looks like it is ready to sail.
ASTRO. STRAAT Museum of Amsterdam. Guido van Helten paints STRAAT’s Peter Hoogewerf. STRAAT Museum of Amsterdam. Ben Slow. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.Adele Renault. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.Ever. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.Mr. June. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.Dan Kitchner. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.Icy & Sot. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.Alaniz. STRAAT Museum of Amsterdam. Lannoo Uitgeverij.STRAAT Museum of Amsterdam. Lannoo Uitgeverij.
STRAAT MUSEUM: Quotes From The Streets. Published by Lannoo. Click HERE to learn more about STRAAT and to purchase the book.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Gregory Orekhov Rolls Out the Red Carpet in Moscow 2. A Brief Look Inside Icy & Sot’s Studio 3. Snowy Athens with INO is Paradise
BSA Special Feature: Gregory Orekhov Rolls Out the Red Carpet in Moscow
Добро пожаловать !
Always watching celebs walking the red carpet? Now it’s your turn as the Russian artist Gregory Orekhov distills the magic of expectation and elegance and historical notions of royalty here in a Moscow forest.
The work titled “Nowhere” is the artist’s most recent and consists of 250 meters of polypropylene.
A Brief Look Inside Icy & Sot’s Studio
In preparation for their solo exhibition at Danysz Gallery in Paris, opening on Saturday, February 12 the gallery visited the artists at their studio in Brooklyn. We wrote about the exhibition HERE.
Rare snowfall in Athens prompts INO to grab his drone to shoot his murals under the coat of snow
Snowy Athens with INO is Paradise
Street artists and muralist INO tours his various works in his hometown of Athens, Greece on a snowy day flying with a drone. The musical score of piano and cello warms and stirs.
Human rights, unjust imprisonment, women’s equality, the plight of migrants and, the threats of climate change. The many pitfalls of unbridled capitalism.
These have been issues that Icy & Sot have been focusing on since we first knew of them, and later when we welcomed them to our city – and ever since. Undeterred by repression of their home country, they moved here to Brooklyn to pursue a new life, only to find that the fundamentals of human rights and the rule of law are globally, constantly in need of defense.
Icy & Sot. Open Door. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)
Without exception, their work has remained focused and insistent as it has changed venue from street to gallery. Those same values are unwavering as the materials have shifted from aerosol to barbed wire and iron, from stencil and mural to rigid sculpture. Whether their deliberately unflashy pieces are mounted against a Californian desert landscape, an expanse of Rockaway Beach, or floating a Georgian river, the world plays an integral roll in the success and the message of their artworks – an ultimate hewing to the street art axiom that physical context is paramount to the message of a piece.
Icy & Sot. Harmony. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)
As Icy and Sot begin their new Familiar / Stranger exhibition at Danysz gallery in Paris, they are unbowed by their discovery as fine artists, unimpressed with the charade, immune to unnecessary artifice, mindful of the world as it has presented itself. The work, some of it brand new, quietly yells. The canvasses are spectacular; a product of hand-made tools and hand-pressed paint in such a streaming plaintive state of consciousness that it will never be purely aesthetic despite its patterned abstraction. The work is, like its authors, authentic.
“I want you to panic. I want you to act as if your house was on fire.” – Greta Thunberg
Icy & Sot. Break Free. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)Icy & Sot. Shadow. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)Icy & Sot. Our House Is On Fire. 2020. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)
The exhibition includes a set of video with an installation, as well as their more recent works ranging from sculpture to paintings all centered around the artists’ engagement for a more conscious world.
From the press release; “As writer Sasha Bogojev puts it, ‘In some way turning Greta’s inspiring words into poetic reality, Icy and Sot built a frame of an archetypal home and set it on fire. Allowing for the untouched surrounding nature to be seen between the blazing framework of the house, the artists suggest looking at the wider picture in which the Earth is our only home. The video shows the reversed footage of their installation being swallowed by flames and crumbling to the ground, creating an illusion of burning pieces of wood rising up and forming the familiar structure. With Greta’s voice in the background calling upon civil disobedience and rebellion, the video has a compelling incentive undertone reminding us that the change is possible if we put pressure on those in power.’ ”
Icy & Sot. Stuck in Time. 2020. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)Icy & Sot. Passage. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)Icy & Sot. Waves. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)Icy & Sot. Borders II. 2021. Familiar / Stranger. Magda Danyz Gallery. Paris. (photo courtesy of Icy & Sot and Danysz Gallery)
Saturday, February 12, 2022 From 3 to 7PM
On view from February 12, to April 9, 2022
Danysz gallery 78 rue Amelot Paris (Marais) M° Saint-Sébastien-Froissart
This time of year, it is hard to find people in Manhattan on the weekends – they’re “weekending” in the Hamptons, darling.
Khari Turner, Hands
Not exactly the original setting you might associate with graffiti, street art, hip-hop, punk rock, zines, and underground art culture but where else can curators Evan Pricco and Kim Stephens sell these works on paper while sipping cool drinks poolside?
“Beyond the Streets” carries the mobile party to Southampton Arts Center this Saturday with a wide swath of styles – 500 works from over 100 artists in an art fair-sized venue. It may remind you of the Urban Air Fair tried in Manhattan in summer 2017, but this one has something that one didn’t: Roger Gastman.
Shepard Fairey, Elysium Lotus
If it’s here, it’s because it is quality work and has a connection to the roots of these subcultural scenes usually as well. Expanding now to the more nebulous category of Contemporary, you may be surprised to see more accessible interpretive variations on the themes. Let’s see that paper, people.
Jane Dickson, Fourth of July 2
Artists include: Action Bronson, Addam Yekutieli, agnès b, AIKO, André Saraiva, Andrew Schoultz, Andrew Thiele, Andy Rementer, Aryz, Bert Krak, Brandon Breaux, Broken Fingaz, Bryant Giles, Camille Walala, CES, Cey Adams, Charlie Ahearn, Chloe Early, Chris FREEDOM Pape, Clark Fox, Cody Hudson, Conor Harrington, Craig Costello, CRASH, DABSMYLA, Daniel Rich, David “Mr StarCity” White, DAZE, DEFER, Emily Manwaring, Eric Haze, Ermsy, Escif, FAILE, Faith XLVII, Fucci, Greg SPONE Lamarche, Gustavo Zermeno, Hilda Palafox, House 33, HuskMitNavn, Ian Reid, Icy & Sot, Jaime Muñoz, Jamilla Okuba, Jane Dickson, JEC*, Jeremy Shockley, Jillian Evelyn, JK5, John Konstantine, Julian Pace, KATSU, KC Ortiz, Kelsey Brookes, Khari Turner, Kime Buzzelli, LeRoy Neiman, Linas Garsys, Liz Flores, Lucy McLauchlan, Lujan Perez, Maripol, Mark Mothersbaugh, Martha Cooper, Marshall LaCount, Matt McCormick, Maya Hayuk, Michael Vasquez, MIKE 171, Mister CARTOON, Neena Ellora, Nehemiah Cisneros, Nettie Wakefield, NUNCA, Otto183, Paije Fuller, Paul Insect, POSE, Rebecca Morgan, Reko Rennie, Rello, Richard Colman, RISK, Ron English, Ryan McGinness, Sage Vaughn, Saladeen Johnson, Scott Campbell, Sean from Texas, Senon Williams, Shantell Martin, Shepard Fairey, SJK 171, Sofía Enriquez, SNOEMAN, Spacebrat, STASH, Steve ESPO Powers, SWOON, TAKI 183, The Perez Bros., Timothy Curtis, Todd James, Troy Lamarr Chew II, Umar Rashid, Victor Reyes, Wasted Rita, Wulffvnky, Yarrow Slaps, Yusuke Hanai, ZESER, ZOER and 45RPM.
BEYOND THE STREETS on PAPER July 17—August 28, 2021 Southampton Arts Center, Southampton, New York, 11968
Street artist and conceptual artist John Fekner participated in student demonstrations and peaceful moratoriums in New York in the 1960s, with his first outdoor work completed in 1968. When younger generations of artists are feeling inflamed about this spring and summers’ demonstrations it is helpful to remember that artists of each generation have been a crucial part of many, if not most, movements of social and political change.
With his new mini-retrospective in a space limited by Covid-19 considerations the exhibition is available to see only by appointment in Bayside, Queens, you can see that Fekner’s dedication to drawing our attention to our behaviors as citizens, cities, politicians, and corporations lies at the root of his advocacy.
Putting your mark on
society is an ironic way of describing the literal act artists and vandals engage
in when putting their work on the streets. While “getting up” for many is an
act of self-promotion or marking of territory, Fekner has often used his spray
paint and stencils to critique, to call-out the failure of societies to care or
take responsibility for their actions or inactions, and may trigger you to bear
witness.
Spraying “DECAY” on a rusting hunk of detritus breaks through the psychological defense systems you may array against “seeing” history and outcome. A blunt aesthetic written in a large format makes an impression – the simple act of tagging objects and surfaces of industrial and urban neglect is radical, a defiant gesture that calls the state and the citizen to account. By drawing attention, even cryptically, you may cause one to question – or even to regard these layers of debris as violence toward others, toward the natural world.
For A CHANGE, the show takes his 1981 painting and applies it broadly
to the running narrative throughout his work, as a proponent of self-reflection
and advocate of positive change.
“The economic imbalance,
the energy crisis, health insurance, pollution, and global warming increase
exponentially every day,” Fekner says in an overview of the exhibition, “all
compounded by the coronavirus pandemic. Many of our issues boil below the
surface, making it convenient to turn a blind eye.”
Meticulously curated, the exhibition is showcasing a selection of Fekner’s paintings, mixed media sculpture, and ephemera as well as a “sampling of art objects, photographs, books, and a glimpse into Fekner’s personal archive spanning a fifty-year timeline,” viewers can get a broader overview of the artists’ sincere belief that his art in the streets has the power to affect the world. “Although some of the work is decades old, their relevance resonates today, maybe with even greater urgency,” says his description.
BSA had the opportunity to ask Mr. Fekner about his work and worldview as we appear at a nexus of profound change.
Brooklyn Street Art: Looking back on the issues you contemplated fifty years ago, we can’t deny that things have indeed changed – but we are also discovering that things really didn’t change, especially when it pertains to race and poverty. How do you, as an artist confront this reality? Are you despondent?
John Fekner: The greatest ferment of change, I believe, is the risks that people are willing to take in the face of tremendous setbacks. This has been true throughout history whether it’s the storming of the Bastille to the toppling of Confederate monuments. I’m heartened by the courage I see today and despondent art doesn’t help.
BSA:Rich countries are on a heavy diet of “consumerism” fueled by the endless appetite of tech giants for quarterly profits to appease shareholders. People spend money they don’t have. Most people don’t have savings and live paycheck to paycheck. What went wrong?
John Fekner: This is nothing new. The exploitation of the poor by the rich is the perennial struggle of humanity and will probably always be. There is no reason to stop fighting. We should never lose our courage and vigilance.
BSA:On Wednesday the CEO’s of Amazon, Apple, Facebook, and Google will testify before Congress. If you were the one asking the questions what would you ask them?
John Fekner: The greatest safeguard of capitalism in our country has always been the resistance to monopolies. My question would be: ‘What are you going to do to insure that your companies don’t monopolize and dominate every market?’
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Offset” by Nevercrew at Urvanity in Madrid 2. Icy & Sot: “Our house is on fire” By COlabs / Marco Figueroa 3. Said Dokins on Cultura Colectiva
BSA Special Feature: “Offset” by Nevercrew at Urvanity in Madrid
Welcome to BSA Film Friday with a new mural from the Urvanity commercial art fair in Madrid that culls together 30 or so galleries and mounts a public art campaign during the same week. “Offset” by the Swiss muralists called Nevercrew presents a massive pile of bears, one stacked upon the other.
The manner of arrangement of the bears presents creatures of the wild as no more than commodities, in the same way that corporations and countries think they can “purchase” offsets through a surreal trading market where one purchases the right to pollute and kill our atmosphere. In a positive light, the title “Offset” may refer to the practice of biodiversity offsetting, where previous wrongs are righted following a mitigation hierarchy to produce “no net loss” of biodiversity.
Also, bears are really cute.
“Offset” NEVERCREW in Madrid for Urvanity Art Fair 2020
Icy & Sot: “Our house is on fire” By COlabs / Marco Figueroa
The pacing is quick, the reversal of the timeline adds a sense of mystery and mastery to the brothers’ fox-witted ability to communicate horror in a rather elegant way.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
