Great to see everyone last night at the Museum of Graffiti for the book launch of Mana Public Arts. Somehow, the guest list ballooned, and suddenly, we needed half a football field to fit everyone in. Right next door, the Hip Hop 50 museum had a breaking (break-dancing) expo, and the museum was broadcasting a live podcast in their glass booth for passersby to watch, and @0h10mike was walking through the museum doing one-line portraits so the streets on the periphery were very crowded. The energy at Art Basel this year waxes and wanes; rather excited, subdued, and tense, perhaps because everyone is talking about the wars, the economy, plastic surgery, the soulless co-branding of the grassroots graffiti/street art movement, the persistence of the man bun, and the political polarization that grips the country and much of the world. Nonetheless, the wide variety of artists and artworks on the street in Miami is still exceptional, the party scene at night is still pumping, and Martha still loves her margaritas.
Here is our weekly interview with the street – a collection from New York, LA, and a little Miami- more Miami to follow: this week featuring Homesick, HOACS, Eternal Possessions, Such, Stanley Donwood, XSM, Tom Boy NYC, Trades only Bro, Slasher, Skeam, Kanos, Vokles, Tinta Rosa, Michael Relave, Las Chicas Que Pintan, and Indo 093.
Mana Public Arts (MPA), a privately-funded real estate program supporting public art, announces the launch of a new book this Saturday at the Museum of Graffiti. The book captures the diversity and vibrancy of street murals by internationally acclaimed artists in two U.S. cities where MPA operates – Miami and Jersey City, New Jersey. Spanning over 300 pages, the book showcases a range of graffiti, street art, and mural works supported and presented by MPA over the past decade, reflecting their dedication to enhancing communities through public art.
This book is a collaborative effort between Kurt Boone and Daniel Sacks, melding Boone’s renowned talent as an author and street photographer with Sacks’ expertise in art business and performance art. The graphic design by Josefina Modeste is both clean and open, accompanying a multi-faceted visual narrative of the streets that is presented throughout the book.
Essays from four notable figures in the street art and graffiti world provide a deeper understanding of the evolution and changing nature of the graffiti/street art/mural art scenes in Miami and Jersey City, as well as context and educational insight into the program. Contributors include cultural critic Carlo McCormick, Brooklyn Street Art’s Steven P. Harrington, Museum of Graffiti’s Alan Ket, and UP Magazine’s T.K. Mills.
Saturno. Mana. Wynwood, Miami. 2019
Established in 2014, MPA is an offshoot of Mana Contemporary Arts Center. The mural program says that it is devoted to creating large-scale, site-specific installations by artists worldwide. Mana aims to reinvigorate neighborhoods, celebrate cultural diversity, foster empathy, offer educational opportunities, initiate dialogue, and amplify marginalized voices.
Book Launch Event at the Museum of Graffiti
Join us for the book launch event on December 9th at the Museum of Graffiti in Miami’s Wynwood District, from 5:00 to 7:00 PM. The evening will feature a panel discussion with esteemed art world figures such as Kurt Boone, Carlo McCormick, T.K. Mills, Jason Naylor, Risa Boogie, Hec1, Buff Monster, Steve Harrington, and moderator Daniel Sacks. If you’re interested in attending, please email cece@feinbergpr.com to be added to the guest list.
Several artists. Mana. RC Cola Factory. Wynwood, Miami. 2018Several artists. Mana. RC Cola Factory. Wynwood, Miami. 2018 Dragon77. Detail. Mana Jersey City Main Campus. Jersey City, New Jersey. Shepard Farey. Mana – The Ice Factory. New Jersey, 2015. (photo courtesy of Mana Public Art Works)Elle. Mana – Miami Mural Fest ’21. (photo courtesy of Mana Public Art Works)1UP Crew. Mana – Miami Mural Fest ’21. (photo courtesy of Mana Public Art Works)
Graffiti artists often dismiss histories or narratives not of their own making, including those from their peers. This subculture, which has continuously evolved across different cities, time zones, decades, and languages over the past 60 years, is so rich in stories and counterstories that it might take another 30 years for the aerosol to clear and reveal the origins of these tales comprehensively. One unwavering truth prevails: if you weren’t there, in the same city, during the same era, didn’t grow up immersed in that urban environment, and weren’t marking the same train lines or recognized by local crews, your credibility is questioned, and the original graffiti artists (OGs) might disregard your story.
It’s meaningful when a book like “The Wide World of Graffiti” is authored by someone like Alan Ket, a native New Yorker from Williamsburg, Brooklyn, who has firsthand experience writing on city trains. As a self-proclaimed graffiti nerd, historian of the movement, and co-founder of the Miami-based Museum of Graffiti, Ket brings a unique blend of metaphorical depth and frank authenticity to his writing. He skillfully combines scholarly insight and sociological context in his narrative, spotlighting selected kings and queens of the streets to further illustrate in their words details of the scene’s evolution and his informed insights to provide context.
Ket’s narrative style, marked by its directness and subtle wit, weaves through a tumultuous and ever-changing graffiti landscape across decades and cities. He captures the art form’s evolution, acknowledging its virtuosos, acolytes, critics, observers, and new entrants. His account includes appreciation for various influences, direct and indirect, allowing each shift in graffiti’s style and color to add to the overall narrative’s vibrancy. Ket augments the text with a wealth of illustrative photographs, showcasing graffiti and its extended family in both street settings and galleries, offering a comprehensive and exhilarating journey through the graffiti world.
Featuring an introduction by the Brazilian graffiti brothers OSGEMEOS, along with engaging profiles and interviews with notable figures such as Sane from SaneSmith, Hotboy Hert, DESA, and Doze Green, Ket allows graffiti’s history to unfold naturally in its distinctive and sometimes idiosyncratic way, enlightening the reader by describing its pathways. He showcases the global surge of interest as expressed through contemporary styles. He gives a quick class on graffiti’s influence in various artistic mediums, including on canvas and in public murals. Ket presents key examples without reducing them to mere tokens, offering a platform for authentic voices like Rime, MadC, Nani Chacon, Saber, and Jan Kaláb to elucidate further. Despite their diverse styles, each artist is united by the important contributions of graffiti culture in their personal histories and their subsequent artistic practices.
Ket’s holistic approach is inclusive and comprehensive, acknowledging related subcultures such as tattooing, skateboarding, and hip hop, while maintaining the focus on the writing culture that crafted a visual language for a youth movement that would eventually gain global prominence.
It’s his personal characterizations that ground the reader in the genuine beginnings of the movement in late 1960s/early 1970s Philadelphia and New York. “Week after week, more and more teenagers joined in, creating aliases and then going out and writing their names on the walls,” Ket recalls, depicting the grassroots creative spark that spread across streets and onto the sides of moving trains. Citing nearly 1,600 arrests of youth for vandalism in New York in 1972, Ket portrays an urban tableau rife with chaos, hunger, aspiration, beauty, and irony, remarking, “Little did they know that their mischievous actions were birthing what is arguably the world’s most popular art movement.”
In Ket’s capable hands, these stories are not only preserved but also eloquently conveyed.
Alan Ket: The Wide World of Graffiti. Monacelli Press / Phaidon. New York, NY.
The Wide World of Graffiti can be purchased directly from the gift shop at the Museum of Graffiti HERE
The war rages again in Gaza, and the street art in New York reflects the cultural response with more pieces every week. New York’s Fifth Avenue will be closed on three Sundays this month to allow more foot traffic to enjoy the holidays and avert car deaths now that the tree and skating rink are open at Rockefeller Center. Our esteemed New York politicians keep doing us proud this week, with George Santos getting expelled from Congress, and Trump being forced to face criminal charges like everyone else. We say goodbye to the first female Supreme Court Judge Sandra O’Connor, and to a person whom most of the world’s press contend was one of the biggest international war criminals responsible for millions of deaths, Henry Kissinger. Remarkable for some that Jimmy Carter outlived him.
Here is our weekly interview with the street: this week featuring Optimo NYC, Kram, Gats, Eternal Possessions, Muebon, El Hase, Stay Busy, Words on the Street, Alex Itin, Madison Storm, Jocelyn Tsajh, Homer, Siomo, Clams, Celeb, and Under Control.
In the heart of Berlin-Neukölln, the Genezareth Church, a neo-Gothic tower with a history as rich and intricate as the city itself, stands renewed and vibrant, thanks to the artistic duo Various and Gould. Their latest project, “Strahlen” (German for “rays” or “to shine”), was inaugurated in mid-September, almost 120 years to the day after the church’s foundation stone was laid in 1903. The installation heralds a new era for the church, which has been experiencing a revival under the Startbahn team, an open-minded group managing the church for the past few years.
Street artists and installation artists Various and Gould, known for their immersion in the context and history of their chosen sites, have transformed the church’s bricked-up windows into a dynamic visual narrative. “We were immediately struck by the church’s colorful redesign and open concept. Our design for the windows evolved into a dynamic, upward-striving bundle of rays, a lantern-like view into the church, reflecting its vibrant, multi-layered new program,” they shared. This transformation is particularly poignant, considering the church’s history of resilience and adaptation, especially during and after WWII when its proximity to Berlin-Tempelhof Airport necessitated critical architectural changes to work in concert with aeronautic needs.
The mural, “Strahlen,” is not just an aesthetic enhancement but a symbolic representation of the church’s role in a changing neighborhood. Various and Gould observed, “The surrounding area, especially since the closure of the nearby airport, has been a juxtaposition of contrasts. Our mural mirrors this dynamism, serving as a beacon of diversity and plurality.” This is evident in the faces depicted in the mural, generated with AI and then artistically altered, representing the diverse community the church embraces.
Inside the church, artworks by other artists, like Polina Soloveichik’s Easter triptych, complement the external mural, creating a dialogue between the interior and exterior. The Startbahn team, according to their website, envisions the church as a space for artistic, spiritual, and socio-political projects, a vision embodied in Various and Gould’s “Strahlen.”
The installation of “Strahlen” at the Genezareth Church is a testament to the evolving role of public art in contemporary society. It bridges the free spirit of graffiti with the finesse of trained artists, creating a new paradigm in public art engagement. As Pastor Jasmin El-Manhy of the Startbahn initiative aptly says, “We aim to inspire and accompany people through life with a blessing, opening our doors to all walks of life.” One may say that this new project is not just a visual spectacle but a reaffirmation of the church’s commitment to inclusivity, diversity, and community engagement in a neighborhood rich with history and undergoing significant transformation.
———
The artists would like to thank Juliane Kownatzki and Tavar Zawacki for their spontaneous help.
Seattle-based digital artist and color virtuoso Abigail Dougherty, known in the art world as Neon Saltwater, recently unveiled her latest installation in Downtown Las Vegas, an eye-popping spectacle you can appreciate in the images here. Located on bustling East Fremont Street, the “Cherry Lake” project transforms a once-abandoned garage into a vibrant, chromatic fantasy. Curated by the innovative group Justkids, this installation signifies a notable shift from Dougherty’s well-known digital realms to a tangible, immersive experience.
Neon Saltwater, celebrated for her ethereal digital landscapes featuring neon-drenched rooms and malls, has translated her unique aesthetic into the physical world. The installation, infused with a futuristic flair and a touch of Y2K nostalgia, offers a multi-era experience. It envelopes the entire building in a kaleidoscopic gradient, accentuated by large digital renderings and neon lights, reminiscent of the slick, optimistic urbanism found on album covers in the stylized 70s and 80s. Inside, visitors are immersed in a dream-like space where silhouettes of floating balloons glow under a haunting red light, creating an atmosphere filled with mystery and longing.
“The familiar structure of Cherry Lake is sharply contrasted by intense colors, lighting, and candy-like text, reflecting the excess and fantasy that form my vision of Las Vegas,” Dougherty explains.
This extensive installation, a standout feature of the recent Life is Beautiful Festival, pays homage to the dual nature of Las Vegas – its allure and its disappointments. Justkids’ Curator and Director Charlotte Dutoit comments, “Neon Saltwater’s creation captures the fabulous and the eerie, the futuristic and the nostalgic. Abby’s world blurs the lines between time and reality, taking viewers on an emotional journey through a beautifully hazy, melancholic, and peculiar landscape.”
Discussing her creative process, Dougherty likens her approach to that of a realist painter or photographer, creating images from scratch to depict non-existent spaces. “I intertwine neon light and color with mundane architectural elements, crafting a surreal yet believable environment,” she remarks. Reflecting on the inspiration behind “Cherry Lake,” she muses on the paradoxical nature of Las Vegas, a city teeming with high hopes and letdowns – recurrent themes in her work. The installation presents an ironic take on the city’s iconic imagery, set against the backdrop of a quaint small-town gas station.
Is “Cherry Lake” a sensory expedition into the heart of urban fantasy? It also depicts emotional contrasts, offering a unique lens through which to view the complexities of the urban landscape.
How are feeling? Did you have a good Thanksgiving day, and did you see the crowds and balloons and marching bands along the parade route and the still intact orange and yellow leaves on the trees on Central Park West? Did you see Dolly Parton dressed as a Dallas Cowboy cheerleader singing at the halftime game, and did you see your girl Ava from up the block with her vintage vest and platform boots when grandma sent you out for a can of whipped cream for the pumpkin pies?
“Have you kept pace with the latest revelation in the art world? A remarkable BBC interview with Banksy, dating back two decades, has recently surfaced, sparking renewed excitement. These are indeed vibrant times for art enthusiasts and creators alike. Take, for instance, the Brooklyn Museum’s current showcase. It features an engaging Spike Lee exhibition alongside the innovative ‘Copy Machine Manifesto.’ This zine exhibition is a deep dive into five or six decades of subcultural and counter-cultural movements. It highlights a diverse range of self-published works, including gossip magazines, graffiti newspapers (a nod to David Schmidlapp and Phase 2), and expressions from queercore to hardcore. The exhibit is an eclectic mix of self-aware conceptual art, original fashion, explorations of sexual desire and confusion, comix, handmade collage, and expressions of nihilism, ennui, satire, humor, and lamentation. It’s a vivid reflection of art and expression – and inspirational to any artist who wants to have a voice.
We’re going back for a second helping.
Here is our weekly interview with the street: this week featuring Stikman, Cosbe, Below Key, No Sleep, Huetek, Optimo NYC, Jay Shells, Tatyana Fazlalizadeh, OH!, Muebon, Humble, Jappy Agoncillo, Jeff Roseking, Hu, Manual Alejando, Deter, Jason Shelowitz, and KIR.
Stikman always appears to lurk in New York on street signs, slapped on mailboxes, and stuck into doorways. A Gotham stalwart for two decades or so, his stiff amulet self is true to form, an image of sticks awkwardly compiled, sometimes in 2D, sometimes in 3. He appears in scenes where everyone else is fully formed and buxom, where space travel requires a bubble helmut and silver jumper, where jumbled graphics almost erase him, where nothing else is happening except this somewhat lonely guy quietly existing in the dirty chaos of NY street culture. Stikman.
Over the weekend the always festive Skewville in Bushwick opened the garage gallery and invited old fans and new to see the street artists new show, primarily focused on the hundreds of street signs that he often regards as clients on the street. In an upside-down political, social, and economic environment that gives rather confusing directions, these signs may not provide the route you need to go, but it appears you will be accompanied. In an effort to diversify offerings, there are all manner of products hand-made by the artist here, verging on craft and crazy, and even a simplified mask, if you so desire.
Never one to stand still, except when standing still, Stikman’s wide range expresses his magpie magic; a virtual machine of never-ending iterations – sculptural, comical, cryptical (?). It was cold, but there were heatlamps to warm the fingers, and an on-point dj duo, and tequila. The artist himself was on the lamb, shy as ever. But his artworks had plenty to say.
It’s a new collection of works found on the street here in New York as we head into Thanksgiving week. The boisterous and celebratory party at Skewville in Bushwick last night to celebrate the new Stikman sign show was well attended and full of fans of the artist. The old fans and new donned Stikman masks and wore name stickers saying, “Hello, I’m Stikman.” The long-time imaginative artist is a fixture on New York streets as new generations of artists come and go. Completely anonymous, he never seeks the limelight, preferring to let his copious ideas on lampposts, doorways, mailboxes, and street signs talk for him. In an age of personal influencers and attention seeking, it is refreshing to see his new works quietly capturing attention and imagination on the streets in his way. Bushwick on a Saturday night is teaming with so many crowds of people you may think you are in Wynwood, Miami, complete with food trucks and neon and thigh-high patent leather boots. But the crowds are far more diverse, and the occasional rat is scurrying across the sidewalk before you.
Here is our weekly interview with the street: this week featuring City Kitty, Adam Fujita, Below Key, Eternal Possessions, Hektag, Hops Art, Aidz, Ali Six, Tkid170, Tracy 168, Hydrane, Otam1, Abloker, Nos Ck One, Madison Storm, Melissa Schainker, Wally, J$T, FatJay, Sens-Sational, Aaron Wrinkle, and 5inck.
In the vibrant neighborhood of Brindisi, nestled in Italy’s southern region, a new mural bears the distinct signature of artist Francesco Ferreri, widely known as Chekos’art. Aptly titled “Goddess of Paradise,” he hopes this mural symbolizes strength and protection for women. In its portrayal, we encounter a powerful woman, a fierce guardian who looks after her family and community.
Born in 1977 in Lecce, South Italy, Chekos’art has spent over two decades honing his skills in the world of street art. His artistic journey began in Milan, where he explored various mediums, from stencils to collage and drawing to video installations. His creative prowess has left an indelible mark across the streets of Italy and beyond, with his murals adorning walls in countries like Poland, Germany, France, Spain, and even as far-reaching as China and Indonesia.
In the mural “Goddess of Paradise,” Chekos’art employs the stencil technique to depict a woman with a proud and determined countenance, one evocative of the idea of strong, resilient women who nurture their families and communities. The mural is part of the PaStA Paradiso Street Art project, an urban regeneration initiative led by Arca Nord Salento. PaStA Paradiso aims to rejuvenate the Paradiso district of Brindisi, focusing on structural rehabilitation and energy efficiency improvements for the area’s buildings. The neighborhood itself is a place of contrasts, with a rich history filled with smuggling, soccer games, communal bonds, and a resilient spirit. Despite its ups and downs, Paradiso continues to evolve, striving for redemption and progress.
Basik. La danza di San Michele (Saint Michael’s dance). Paderno d’Adda, Italy. (photo courtesy of the artist)
“La danza di San Michele” (Saint Michael’s Dance) is a captivating mural composition by the street artist Basik, situated in the heart of Paderno d’Adda, Italy. A unique public art project thoughtfully curated by Annalisa Ferraro, the scattered collection has breathed new life into the historic center of Paderno d’Adda, forging a connection between tradition and contemporaneity, past and present, without the need for embellishments or excessive sentimentality.
Basik. La danza di San Michele (Saint Michael’s dance). Paderno d’Adda, Italy. (photo courtesy of the artist)
Basik, hailing from the vibrant art scene of Italy, embarked on a ten-day journey to transform the town’s walls along Via Manzoni into a beckoning series of canvasses. His artwork serves as a beacon, imploring residents and visitors to embark on an immersive exploration of the region, offering a fresh perspective on its historical, artistic, architectural, and natural heritage. Without delving into the intricacies of funding, this project has been brought to life as part of Paderno d’Adda’s urban regeneration plan, showcasing the town’s commitment to revitalizing its historic center.
Basik. La danza di San Michele (Saint Michael’s dance). Paderno d’Adda, Italy. (photo courtesy of the artist)Basik. La danza di San Michele (Saint Michael’s dance). Paderno d’Adda, Italy. (photo courtesy of the artist)
Three distinct artworks form an indivisible composition, inviting viewers to partake in a visual narrative that evolves with every step along the town’s main street. In “VIA.,” Basik draws inspiration from Leonardo da Vinci’s canals, symbolizing the rush of progress and connection. “TANGERE verso uno” reveres the symbolic role of the bridge, embodying possibilities and unity. Finally, “LUCE. ACQUA.” presents a model of the historic Bertini power station as a place of reverence, representing the region’s journey through industrial transformation.
By day, the mural reveals its details and colors, mirroring the landscape from antiquity to the present. By night, a golden thread illuminates Basik’s creation, guiding viewers through a constellation, a scattered composition that tells a fuller story.
“Saint Michael’s Dance” is an ode to hospitality, observation, and comprehension. It offers the people of Paderno d’Adda a new heritage, preserving the memory of the past while embracing the future. This installation symbolizes a celebration of history and an invitation to participate in a compelling narrative.
Basik. La danza di San Michele (Saint Michael’s dance). Paderno d’Adda, Italy. (photo courtesy of the artist)Basik. La danza di San Michele (Saint Michael’s dance). Paderno d’Adda, Italy. (photo courtesy of the artist)
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 »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
