Ben Wakeling, a British artist celebrated for his abstract figurative art on the street and on canvas, brings his unique expression to BSMT with “Abstract Figurativism: Loving Fiercely.”
Wakeling, known for his powerful charcoal lines and bold colors, explores the depths of self-portraiture by letting his hands draw in an automated way, revealing his inner consciousness. His work, a blend of abstraction and classic portraiture, transmutes the inner workings of his world onto canvas.
Wakeling, known for his powerful charcoal lines and bold colors, explores the depths of his self-portraiture by letting his hands draw in an automated way, revealing his inner consciousness. His work, a blend of abstraction and classic portraiture, transmutes the inner workings of his world onto canvas.
This exhibition, opening this February at BSMT, promises a journey through Wakeling’s exploration and re-invention of self-portraiture, showcasing a collection of large-format paintings and unseen drawings.
According to the press release, “He lets his hands draw in an automated way, reminiscent of the surrealist exercise of revealing inner consciousness through automatic writing. However, what Wakeling expresses is his identity in self-portraiture, suppressing conscious control in the process.”
The exhibition will feature a collection of eight large-format paintings alongside a selection of never-before-seen drawings.
Today’s art intervention by Italian street artist Biancoshock is poignant and grand. It bridges history, geography, and the collective memory of migration with a thought-provoking project along the unfinished road stretching between Albania and Montenegro, beside the serene Shkodër Lake.
Intended to connect the two nations, the road abruptly halts at the border, serving as a silent witness to the aspirations of Albanian immigrants who once traversed this route in search of new beginnings. The intervention erases dividing lines on the Albanian side and installs a starting grid at the border, transforming the pavement into a potential symbol of hope and new beginnings.
“With this action, I aim to address the topics of immobilization and stasis, elements that hinder any form of restart—be it social, economic, or cultural,” Biancoshock tells BSA. “The starting grid symbolizes the initial point for a new beginning; it’s a call to action, an invitation to create the second part of the road that could connect the two countries more efficiently.”
More than an artistic gesture, this serves as a powerful commentary on the possibility of overcoming past barriers and envisioning a future filled with renewed connections and opportunities. An unfinished road becomes a canvas for contemplating the intersections of history, mobility, and the potential for revival.
New Yorkers are having a grand celebration this weekend as the Year of the Dragon begins, and traditional lion and dragon dances wend their way through Chinatowns in Manhattan and Queens. You’ll be seeing lots of red, hopefully getting some money in red envelopes (hongbao), and eating dumplings (symbolizing wealth), fish (representing surplus and abundance), and sticky rice cakes. To all our neighbors celebrating, “恭喜发财” (Gōngxǐ fācái), which means “Wishing you wealth and prosperity.”
Later this week, we’ll all profess love for one another on Valentine’s Day. Looks like red is the color for New York this week.
Here is our weekly interview with the street: this week featuring Homesick, Toxicomano, ERRE, CP Won, Qzar, Hektad, Jappy Agoncillo, ToastOro, Senk, Stesi, CASH RFC Crew, OSK OSK, NAY, and Kosuke James.
As founding members of the Martha Cooper Library at the Urban Nation Museum in Berlin, Brooklyn Street Art (BSA) proudly showcases a monthly feature from the MCL collection, illuminating the extensive and diverse treasures we’re assembling for both researchers and enthusiasts of graffiti, street art, urban art, and its numerous offshoots. Below, we present one of our latest selections.
“City of Kings: A History of NYC Graffiti” is a crafted exploration of the graffiti scene’s historical roots in New York City. Born from a prominent exhibition co-curated by Al Diaz, Eric Felisbret, and Mariah Fox, this book transcends the role of a mere catalog to become a substantive text that presents a detailed overview of the graffiti movement in a structured, academic, and engaging manner.
In the shifting culturescapes of urban contemporary art, STRAAT Museum’s latest exhibition, “Moniker: An Origin Story,” emerges as a poignant narrative that bridges the transient heritage of hobo monikers with the vibrant pulse of today’s street art scene. This show not only marks an exploration into the roots of a movement but stands as a tribute to Russell Butler, known as buZ Blurr, a pivotal figure who recently passed away, and whose legacy in the realm of freight train artistry has left an indelible mark on the canvas of American folk art.
The practice of hobo writing on trains, a tradition from the early 20th century, encapsulates a form of rebellion against the confines of societal norms, embracing a nomadic lifestyle that flourished alongside the tracks of freight trains. In their quest for freedom and community, Hobos developed a unique language of symbols, or “monikers,” that became a vital means of communication within this itinerant community. These monikers, often rendered in solid paint sticks or industrial crayons, are the precursors to the graffiti and punk DIY styles that would later permeate urban landscapes, among other things, embodying a spirit of protest against modern society’s failings and creating platforms for random acts of poetry.
buZ Blurr, an artist who commenced his journey within the rail yards of Gurdon, Arkansas, crafted a visual lexicon over five decades, becoming synonymous with the Colossus of Roads moniker. His “boxcar icon dispatches” served not only as personal narratives but as a collective memory for the transient souls that found solace in the freedom of the rails. Through his friendship and collaboration with Bill Daniel, a documentarian whose work “Who is Bozo Texino?” delves into the subculture of rail graffiti, Blurr’s legacy and the broader narrative of hobo moniker art have been meticulously archived and celebrated.
Colossus of Roads in S.F. Moniker, An Origin Story. Straat Museum Amsterdam. (photo courtesy of Straat Museum)
The exhibition at STRAAT invites audiences to traverse the evolution of this underground art form, from its hobo origins to its present-day incarnation within the global urban art scene. The exhibition showcases a selection of works that encapsulate the essence of the moniker movement, highlighting the original artworks and boxcar iconography that buZ Blurr authored and brandished. Visitors will encounter a diverse array of expressions, from the iconic Colossus of Roads to other seminal figures within the moniker tradition, each piece narrating a story of freedom, identity, and resistance.
In an era where some in the contemporary urban art scene gravitate towards commodification, this genesis story rekindles the foundational values of community, communication, and the unadulterated desire for expression that characterized the organic origins of this movement. STRAAT Museum reaffirms its commitment to celebrating the authentic and genuine voices that have shaped graffiti, street art, and urban art through this exhibition. This show is not just a historical recount but a vibrant testament to the enduring spirit of artists who have navigated the margins to inscribe their narratives on the city’s canvas – and across the country.
Colossus of Roads. Moniker, An Origin Story. Straat Museum Amsterdam. (photo courtesy of Straat Museum)
The exhibition opens its doors with a reception on Saturday, March 9, 2024, from 6-9 PM, inviting the public into a dialogue with the past and present. The exhibition will continue through Sunday, April 28, 2024, at STRAAT Museum. In its essence, one hopes it celebrates the indomitable human spirit’s quest for freedom, identity, and expression.
buZ blurr during a conversation with Brooklyn Street Art in 2019.
“These are a self-portrait as predicated on the first Bozo Texino person, and I kind of changed the image around,” says Mr. Blurr, a legendary figure in denim overalls, as he patiently describes his classic tag image of a railway cowboy.
“It is a writer motif – the pipe smoke is going up, and then it is trailing back to signify movement as the train goes down the track,” he says. “I worked in the train yards, and my job was as a brakeman. I had a little free time, so I started making drawings. I made my first one on November 11, 1971,” he says as he recalls a state of mind that he was in at the time as he began to tag freights with the image and text that came to him clearly – yet it may have perplexed other travelers.
“They came from a confused state. I was questioning everything. I was putting a kind of cryptic messages under my drawings. It was anybody’s guess as to its literal interpretation. I addressed some of them up to specific people, but whether they saw them or responded to them, I wouldn’t have any idea.”
The full list of contributing artists includes:
2359, Alquimia Ferrocarrilera, Bill Daniel, Coaltrain, Colossus of Roads, Ed Haskel, Fat Owl, Flangesqueal, I’m Ugly, Khaze, The Kodak Kid, Lamps, Leroy Drown, Milktooth, Mr. Bass, NY Tomato, North Bank Fred, NOVA, POOH. The Rambler, Shrug, Smokin’ Joe, The Solo Artist, Stonewall Jim, Swampy, Take 5, Tex Goth, Wooden Axle, Bozo Texino, Conrail Twitty, Herby, Iowa Blackie, J.B. King Esq, Matokie Slaughter, Mud Up, Taurus, El Truncón, Water Bed Lou.
Moniker: An Origin Story is open to the public from Sunday, March 10th until Sunday, April 28th, 2024
Jaime Rojo has built an impressive collection of photographs of these, capturing the essence of New York’s streets through his lens with an array of box trucks that weave and jolt their way through traffic, often seen opening their gates to load and unload amidst the noise of city life. These trucks, adorned with cryptic and crazily painted graffiti, have become pivotal platforms for urban expression, succeeding subway cars as the canvas of choice after the MTA’s crackdown on trains. Rojo’s vast archive features hundreds, perhaps thousands, of these nomadic art pieces, transforming ordinary vehicles into a main showcase for artists’ narratives and tributes to urban royalty, with eclectic themes and styles that span all five boroughs.
These mobile galleries, nestled on private property and often commissioned by the owners, navigate a legal grey zone, untouched by state or city regulations. They offer a transient exhibition space, constantly in flux, moving across bridges, navigating the FDR, or idly sitting in traffic, right beside you. Each truck is a fleeting installation, a snapshot of the city’s dynamic art scene that you may know or not.
Back in the wild days of 2014, we published a small survey of the ubiquitous box trucks roaring through the streets of NYC. Most commonly used by movers helping residents move in or out of their homes, these trucks obviously serve a more lofty purpose. You can see HERE our article from 2014.
As we present a new installation of this collection once more, we delve into the latest series of box truck artworks that continue to serenade New York’s streets. This ever-evolving display captures the spirit of the city, revealing stories and visions that are as mobile as they are momentary, reflecting the vibrant, shifting nature of urban life through the eyes of famed photographer Jaime Rojo. Step outside and enjoy a moving art fest on the street just for you.
Is it even possible to take a personal inventory when it looks like the world around you is going off kilter? It’s worth a try. It may be the thing you depend on most in the future.
Here is our weekly interview with the street: this week featuring Pork, Sara Lynne Leo, Homesick, Clint Mario, Pear, Girlty, Georgia Violett, and Max Grax.
In Auckland, New Zealand, a new mural emerges from the city’s urban landscape, capturing one essence of New Zealand’s artistic evolution. “Anima,” a striking creation by Owen Dippie, a prominent New Zealand street artist, is a profound tribute to fellow artist Max Gimblett. Nestled in a rugged part of the city, this mural stands as a confluence of artistic expressions and shared histories, bridging the traditional with the contemporary.
Owen Dippie, acclaimed for his large-scale, photorealistic portraits, has many times showcased his exceptional skill in honoring iconic figures of the art world and community figures who have impacted people’s history. Selecting Max Gimblett as his subject, Dippie acknowledges Gimblett’s notable influence in art and himself. Both artists share a deep connection with New York, a city that has significantly shaped their artistic journeys despite their New Zealand origins.
The mural, a monochromatic portrayal of Gimblett, is encased within the quatrefoil shape, a signature element in Gimblett’s art. This shape, reminiscent of a four-leaf clover, carries deep symbolic meanings across different cultures and religions, from representing the four evangelists in Christianity to embodying symmetry and order in Islamic art.
In Gimblett’s artistic universe, probably influenced by his Rinzai Zen monk practices and spiritual quests, the quatrefoil symbolizes the harmonious amalgamation of Eastern and Western art philosophies. His work further accentuates this blend, often marrying Abstract Expressionism and Modernism with Asian calligraphy’s spiritual abstraction. Presented in collaboration with Gow Langsford Gallery, “Anima” can also be seen as a dialogue between Dippie’s and Gimblett’s artistic ideologies, known for challenging conventional art forms and blending tradition with innovation.
Max Gimblett’s journey from Auckland to the global stage is marked by his extensive travels, teaching experiences, and exhibitions worldwide. His artworks, characterized by masterful brushwork, a sophisticated color palette, and glossy surfaces enriched with gilding, reflect a diverse range of influences — from the alchemical mysteries and the Presbyterian Church of Scotland of his upbringing to the aesthetics of Japanese lacquerware and temple art. Gimblett’s unique artistic language is celebrated in significant museum collections globally, including the Guggenheim Museum, the Museum of Modern Art, and the Whitney Museum of American Art.
The nature’s gentle harmony is, probably, the best remedy for the speeding time of today. It stabilizes the ground beneath our martyred feet.
~ Mateusz Świątecki
Bartek Świątecki, aka Penner, has a style that is a confidently defined blend of bold colors, geometric shapes, and abstract forms harmoniously intertwined. It’s a graphical minimalism that speaks volumes, with straight lines and pure colors forming complex, geometrical clusters. This unique visual language demonstrates his mastery of blending traditional graffiti with modern abstraction and reflects a deep engagement with high art and youth culture. His murals and canvas works, often large-scale, are known for their dynamic and vibrant nature, inviting viewers into a world where street art and fine art converge.
Usually, you don’t see his canvasses in a field of cows.
This new book of photos documenting his newest painting project outside the country features Stare Kowkowo, a village in the administrative district of Gmina Jonkowo in northern Poland—23 kilometers northwest of the regional capital, Olsztyn. Stare Kawkowo is part of a region known for its picturesque landscapes and historical significance. In the graffiti and street art world since the mid-1990s, Świątecki has etched a significant voice on contemporary art, so why not bring contemporary art into the heart of his natural homeland?
Looking through the text-free pages of the artist in the wooded areas and rolling pastures, you understand that his painting is not just an expression but a dialogue between himself and the world. Perhaps it is an effort to transcend conventional boundaries and labels, offering a unique perspective on his artistic journey, a testament to the evolving relationship between different art forms and cultural expressions.
Like the anonymous work we find on the streets, he’s not offering interpretation.
The painters’ brother Mateusz Świątecki, in the foreword of the book, eloquently adds, “Bartek’s paintings keep vibrating, as the light vibrates under our eyelids, in their unbridled dance of endless creation: as a spasm of condensed matter just before being jetted into the oceans of entropy in the Big Bang.”
He further reflects, “Bartek never explains what he has meant, which is very good. We may embark on a journey to find meanings and impressions alone – with no luggage and totally free. And, perhaps, it is what those paintings are about.”
This sentiment captures the essence of Pener’s art – an invitation to explore and interpret freely, unhindered by narrative or analysis.
“Art is not a mirror held up to reality, but a hammer with which to shape it.”
– Bertolt Brecht
Welcome to BSA Images of the Week!
Our current reality appears quite bent, and maybe art has the power to straighten it out, but you won’t see a lot of political stuff on the streets right now ironically. Here and there, yes, but as the US stirs the embers of resentment into a third world war in the Middle East that will possibly metastasize with other warring regions, it appears that we collectively look again at our belly buttons.
Brooklyn is booming with some fresh work this week, with a winter snowstorm that left us with a white blanket to augment the freshest street art and graffiti. This week, Barcelona’s KRAM shows up in BK with their eclectic styles interplaying. Sice is nice, QUAZAR climbs up, and Toney crosses, and Parisian/Londoner/Brooklyn-based Oscar Nett is hyperrealistic and geometrically dramatic, giving us some Li-Hill vibes, no?
Here is our weekly interview with the street: this week featuring Obey, Cost, Jason Naylor, Degrupo, Optimo NYC, Kram, Hek Tad, Muebon, Slomo, Oscar Lett, Konozco, Toney, Mishka Bobisha, Rack, Klash, QUAZAR, Trip, Sice.
Today, we unveil new works from the Unmute Campaign, a dynamic and impactful movement supporting photojournalists in Gaza. This creative initiative transforms harrowing moments captured in conflict zones into evocative paintings and sketches. By doing so, the campaign plays a pivotal role in amplifying the voices of those who risk their lives to report the realities of these areas, no matter how dire. Joining the effort is a diverse group of international artists, including Ernest Zacharevic, Escif, and prominent figures such as Shepard Fairey.
This campaign represents a significant movement in the art world, where artists from across the globe interpret photo documentation from photojournalists on the ground in Gaza; the project partners with five active Photojournalists, Belal Khaled, Mahmoud Bassam, Sameh Nidal-Rahmi Saher Alghorra and Majdi Fathi. Their involvement in Unmute goes beyond artistic expression; it’s a testament to their commitment to raising awareness and fostering change in pressing global issues.
Ernest Zacharevic draws upon his unique ability to blend art with its surroundings, creating pieces that resonate deeply within local and international communities. His environmental activism, mainly through his “Splash and Burn” campaign, highlights Indonesia’s urgent need for sustainable practices in palm oil farming. This initiative underlines his dedication to tackling environmental degradation and promoting a harmonious relationship between humans and nature.
Escif, on the other hand, is better known perhaps for his art on the street that challenges societal norms and provokes critical thought. For instance, his work during the coronavirus pandemic offered a fresh perspective on societal attitudes and governmental narratives. Escif’s participation in the Unmute campaign reflects his reputation for keen insight into the complexities of social and political issues. As these new pieces from the Unmute campaign unfold, they remind us of the influential role that art can play in shaping societal perspectives and driving action.
CLICK HERE TO DOWNLOAD THE FILES FOR PRINT FREE OF CHARGE
A decade ago, spotting a fire extinguisher tag at a high-profile art fair was as rare as stumbling upon a unicorn. These tags, a raw expression borrowed from the rebellious part of street culture, remain one of the few graffiti forms embodying untamed, voluminous fury. Their wild, nearly uncontrollable nature often sends extinguisher tags sprawling chaotically across walls, typically in a burst of illegal exhilaration and complete disregard. Yet, at Scope, something has changed. Here, under the discerning eye of the STRAAT Museum from Amsterdam, New York’s Elle adds it to her graphic vocabulary, confined in a grid. The extinguisher phrase is sweetly an affair of the heart, neatly encapsulated within the structured lines of a painted grid on an outdoor display wall.
In this world (the West, East, North, and South), increasingly sliced by polarized political fault lines, the once rigid boundaries between art and vandalism blur into intriguing shades of gray. Consider hand styles like those of Bisco Smith at this venue – once underground, now they fold into the stylized lexicon of ‘calligraffiti,’ accessible to all. It’s a testament to the evolving nature of art, shattering the dichotomy of rules once as clear-cut as the commandments brought down by Moses.
Take Anthony Garcia Sr., for instance. His story is a narrative of contrasts. Born in Denver, that bastion of Boomer wealth now gasping in the throes of late-stage capitalism, Garcia’s roots are in Globeville, a less privileged neighborhood. He gets street cred for starting as a graffiti writer, then joins a DIY art collective – a move perhaps uncharacteristic for traditional graffiti artists. Garcia’s journey exemplifies the fading of stark black-and-white distinctions.
This year’s walls outside the Scope Fair in Miami vividly showcase this eclectic con/fusion. We see graffiti writers rubbing shoulders with art school graduates, graphic designers, and street artists. It’s a diverse panorama condensed into a concise exhibit. Curated by Hyland Mather and David Roos, STRAAT’s exhibition “Not So Black & White” celebrates this new, complex artistic landscape – where the lines between defiance and conformity, street and gallery, blend into a new, undefined horizon.
Artists include The London Police Hoxxoh, Pref ID, Bisco Smith, Mando Marie, Elle, Valfre, and Anthony Garcia Sr. .
Elfo is a graffiti writer and social commentator whose work intentionally sidesteps traditional notions of style or technical lettering. This …Read More »
In her latest mural, Faring Purth delivers a powerful reflection on connection, continuity, and the complexity of evolving relationships—a true …Read More »
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