Bitter is right! The city’s temperature has been below freezing every day this week, and the sentiments coming out of the new White House appear to be bitterly subzero. We will be looking for artists to respond to the raft of new declarations, announcements, and aspirations spread across the political landscape. You can’t simply ban and deport everyone who you despise – it doesn’t work. When you see powerful people punching down with such hostility… – even a half-asleep school counselor with a coffee-stained clipboard would ask if everything is okay at home. The behavior on display this week might bring to mind something Grandma Arlene used to say when you were a mouthy teenager: ‘Maybe it’s time to take a good look in the mirror, mister!”
When it comes to graffiti and street art, we’ll keep an eye on the streets; In times of crisis and uncertainty, the artist’s voice emerges strongest, as adversity is the canvas on which creativity thrives.
Here’s our weekly conversation with the street, this week featuring City Kitty, Below Key, Huetek, Muebon, Rheo, Roachi, Such, Humble, Le Crue, Denis Ouch, Notic, Stu, Toney, Jay Diggz, EST, The Slasher, Soren, HELCH, Louie167, and Wanted.
Books in the MCL: John P. Jacob (ed.). Kodak Girl: From the Martha Cooper Collection
Kodak Girl: From the Martha Cooper Collection. John P. Jacob (ed.). 2012
Reprinted from the original review.
“Kodak Girl: From the Martha Cooper Collection“, edited by John P. Jacob with essays by Alison Nordström and Nancy M. West, provides an in-depth examination of Kodak’s influential marketing campaign centered around the iconic Kodak Girl. With a riveting collection of photographs and related ephemera, the book dives into the intersection of technology, culture, and the role of gender in the late 19th to the mid-20th centuries. It offers readers a comprehensive look at how Kodak not only transformed photography into a widely accessible hobby but also significantly influenced societal perceptions of women.
MARTHA COOPER LIBRARY: BOOK RECOMMENDATION
| Title: Kodak Girl. From The Martha Cooper Collection / Edited by John P. Jacob | Steidl. Germany, 2011 | Authors: John P. Jacob, Alison Nordstrom, and Nancy M. West | Language: English
This is a new mini-installment from our interview with Michelle Houston about the current show at Urban Nation, LOVE LETTERS TO THE CITY.
“Why is public space not about public discourse and the things that are happening?,” asks Houston. “Why, have we got cigarette adverts and not conversations about social mobility?”
Even during these cold Berlin winter days, Urban Nation lights a warm fire inside your mind and imagination and gives you ideas to discuss and consider – and questions to ponder. Whose city are we living in?
Video credits: Commissioned by Stiftung Berliner Leben. Shot by Alexander Lichtner & Ilja Braun. Post-production, additional footage, graphics, and a final version by Michelle Nimpsch for YAP Studio/YES, AND… productions GmbH & Co. KG
New York is gearing up for a deep freeze from the weather and Donald Trump’s inauguration this weekend. With 100 Executive Orders reportedly queued up for him to sign, the forecast for the next four years includes ACA repeals, immigration crackdowns, Medicaid cuts, trade wars, inflation spikes, elimination of laws that corporations find restrictive, and civil rights rollbacks. On Martin Luther King Jr. Day, the timing feels bitterly ironic. But hey, maybe it’ll be sunshine and puppies, and everyone who is worried is just overreacting. “Poorer Voters Flocked to Trump,” said the Financial Times, so perhaps those petrified of the next four years are misreading the situation.
Regardless of the outcome over the coming years, we’ll be tracking the creative spirit on the street, and we are thankful for your support, as always.
Meanwhile, the polar vortex is set to bring approximately six inches of snow to New York City, followed by dangerously low temperatures with wind chills making it feel like -15°F. Interestingly, some graffiti writers will tell you that is the best time to get up on walls, because nobody is watching, but then perhaps you might lose feelings in your toes and fingers because of the cold?
The West Chelsea Arts Building in Manhattan, a longtime hub for artists and galleries, is on the market for $170 million, raising concerns about potential rent hikes or evictions for its 200 tenants. Over the years, notable artists like Ross Bleckner, Louise Fishman, and Hiroshi Sugimoto have called it home. Affordable studio space is essential to New York’s creative identity, yet rising costs make it increasingly difficult for emerging artists to thrive here. Imagine if the City prioritized supporting artist spaces instead of leaving culture at the mercy of the real estate market.
Here’s our weekly conversation with the street, this week featuring Stikman, Homesick, ERRE, Cody James, Hops Art, BK Ackler, Denis Ouch, Jenna Morello, WGE, QUES, Real Wrek, Kyle, AKSone, and 974MC.
Aryz, a name synonymous with large-scale murals that challenge the boundaries between street art and fine art, has once again brought his unique vision to life in Barcelona. Of course, this is not the first time he has painted here.
This time, his canvas is the exterior of Sala Apolo, a historic cultural center and music venue in the city. Renowned for surreal, muted palettes and imposing unexpected compositions, Aryz reimagines the Greek god Apollo in his latest piece, blending classical iconography with an unconventional, almost irreverent twist that defies the traditional aura of divinity. The project, documented here through the lens of Lluis Olive, showcases Aryz’s technical prowess and evolving approach to storytelling on public walls.
Sala Apolo, situated along the bustling Paral·lel Avenue, is far more than a venue; it’s a multidisciplinary hub for music, art, and inclusivity. Known for its commitment to amplifying various voices and creating a space for many audiences, the venue’s philosophy aligns seamlessly with Aryz’s artistic ethos. His reinterpretation of Apollo—a figure representing creativity and artistic mastery—pays homage to the center’s mission. It also anchors the new figure in the cultural heartbeat of Barcelona – a dialogue between the city’s cultural legacy and Aryz’s contemporary narrative.
In typical Aryz fashion, the mural reflects his ability to reinvent his style while maintaining the visual language that has earned him global recognition. Bold lines, translucent layers, uniquely rendered textures, soaked with warm and inviting hues—we’re midway between the divine and the human. This is public art as a shared cultural experience. Special thanks go to Lluis Olive for vividly capturing the mural’s creation and to the Sala Apolo team for fostering a platform where creativity can thrive.
Books in the MCL: Life’s A Mission Then You’re Dead. REVS, XSOUP, and ARBOR
REVS, XSOUP, and ARBOR. Life’s A Mission Then You’re Dead. 2022
Reprinted from the original review.
Life’s A Mission Then You’re Dead. REVS, XSOUP, and ARBOR
In the pantheon of New York graffiti legends at the turn of the century, few names resonate like REVS. Thanks to the regard other writers have for him “Life’s A Mission Then You’re Dead,” compiled alongside XSOUP and ARBOR, stands as a monumental tribute to the gritty essence and raw spirit of the city’s subterranean graffiti culture. The 510-page tome emerges not only as a collection of inside views but as an immersive chronicle of the lives, thoughts, and experiences of over a hundred NYC graffiti writers. Each account is a testament to the unvarnished reality of the streets, capturing the adrenaline, artistry, and audacity of those who dare to leave their mark in the most impermanent of all galleries: the urban cityscape.
MARTHA COOPER LIBRARY: BOOK RECOMMENDATION
| Title: Life’s A Mission Then You’re Dead. REVS, XSOUP, and ARBOR | Self-published / 2022 | Authors: REVS, XSOUP, and ARBOR | Language: English
Welcome to Images of the Week. Our hearts are heavy as we think about our brothers and sisters in Los Angeles—their losses, pain, and fears. We’re deeply grateful to the firefighters and communities who are stepping up and looking out for one another. The bond between the graffiti and street art communities in LA and NY runs deep, and hearing some of the stories coming out of this disaster is heartbreaking.
If you can help, please consider these reputable organizations:
Before donating items or volunteering, it’s advisable to contact these organizations directly to understand their current needs and ensure your contributions are most effective. Thank you.
Here’s our weekly conversation with the street, this week featuring Judith Supine, Rambo, Degrupo, Werds, Seoul, Hektad, Appleton Pictures, EXR, One Rad Latina, Notice, TABBY, Caryn Cast, Cram, Ratch, GRIDER, Zooter, Arsenio Baca, Zwoner, and Nice Beats.
Wynwood Walls marked its 15th anniversary during Miami Art Week 2024, drawing artists and fans who packed into Jessica Goldman Srebnick’s walled compound to see the new round of murals, sculptures, and glassworks. A renowned showcase for a curated slice of contemporary street art, the new lineup featured works by:
The eclectic mix brought together old-school graffiti pioneers and contemporary street artists, with a standout contribution from Simon Berger. Goldman Srebnick made sure to highlight his work as we arrived, and for good reason—his fractured-glass portraits installed in the windows of the on-site subway car are a striking and unusual experience. Using a hammer to create detailed images by breaking glass, Berger’s work plays brilliantly with light, an understated yet shimmering result evoking comparisons to C215’s stencils and Vhils’ subtractive jackhammered murals. There was reportedly a live demo of his technique during the week, but unfortunately, we missed it.
Not all the walls feature new work; some still bear murals from past years. It’s always a delicate decision to replace pieces, but Wynwood eases the transition by “retiring” older works with an onstage champagne ceremony. The commemorative bottles, a thoughtful gesture, come with their own theatrics—Tristan Eaton made sure the first few rows got a celebratory spray, and Mantra spent much of the night reconnecting with his bottle as he darted between friends, fans, and the dance floor.
A highlight of the official artists dinner was a raucous set by iconic British DJ Fatboy Slim, whose hits like The Rockafeller Skank and Praise You brought the crowd to life – including a hot minute with Martha Cooper and Jaime Rojo – shared the following day on Instagram. Attendance figures for Art Basel Week are hard to estimate, but Wynwood Walls continues to attract enormous crowds, with thousands exploring installations and events throughout the week.
The anniversary also saw the launch of Street Art Icons, a retrospective book published by luxury house Assouline, chronicling Wynwood Walls’ 15-year legacy. A signing event featured a lively discussion between Goldman Srebnick and contemporary art dealer Jeffrey Deitch, adding their own memories to the origin stories and intentions of the first protagonist, Tony Goldman.
Having guided Wynwood’s curatorial direction for 12 of its 15 years, Goldman Srebnick’s speeches often reflect her connection to the artists and her perspective on their work. Every year brings shifts—subtle changes in the artists on view and the evolving tastes and attitudes that define graffiti and street art culture as it continually reinvents itself. Among the growing number of street art celebrations worldwide, Wynwood remains a key platform, bridging the gap between artists and audiences while providing its take on the pulse of the culture’s heartbeat.
Now, right next door, we begin the year with a vibrant and thought-provoking project by French graffiti writer, street artist, muralist, and natural scientist Mantra. Tasked with breathing life into the rooftop of a multi-story parking garage in Miami, Mantra delivers a masterclass on how art can energize and possibly educate.
Mantra’s artistry goes beyond aesthetics; his murals are environmental narratives intrinsically rooted in his passion for entomology and the natural sciences. This latest work transforms an otherwise overlooked rooftop into an expansive visual dialogue about conservation and the interconnectedness of ecosystems.
By showcasing the fragile beauty of species like the endangered ‘Miami Blue,’ Mantra forces viewers to confront what is at risk as urban landscapes encroach upon natural habitats. While some may marvel at the mural’s sheer scale and technique—achieved without projections or stencils—what truly resonates is the intimacy Mantra creates within the grandeur.
Each butterfly seems to hold its breath, inviting quiet reflection no matter your distance from it. It’s an extraordinary juxtaposition: the fragility of nature presented boldly against the Miami skyline, compelling us to consider our impact on the natural world.
As often happens when we see a finished piece by Mantra, this feels like a call to action, a vivid reminder that every city has room to nurture life beyond its asphalt and concrete. With this work, Mantra beautifies Miami and (possibly) deepens its cultural and ecological dialogue, proving that art can be both breathtaking and profoundly purposeful.
Only the richest, most aromatic coffee seems to linger in the breezes of Miami, where even winter days can carry a tropical heat that halts you in your tracks. Street art and graffiti flourish like a teenager’s restless energy, leaping unpredictably from block to block, wall to wall, driven by possibility and the city’s desire to reinvent itself. Just when you think Wynwood may have run its course, new work emerges, reminding us that the creative pulse is alive and insistent. When it comes to street art and graffiti it all starts with the artists – and the economic/social underpinnings of a city. Here are some recent highlights from this hub of creativity and inspiration.
Flags are at half-staff for former President Carter, with a national funeral service scheduled at the Washington National Cathedral on Thursday. Meanwhile, former/future President Trump is set to attend his sentencing on Friday following a criminal conviction related to hush money payments. You may not find a more stark contrast between presidents. While speculation surrounds the sentencing outcome, it is widely thought that Trump will not serve any time behind bars, a fine message to young people everywhere.
In Brooklyn, the temperature is hovering around freezing, with biting winds signaling the arrival of harsher weather across this part of the country. Few expect much new street art or graffiti this week as forecasts predict bitter cold and snow along the coast.
Here’s our weekly conversation with the street, this week in New York and Miami, featuring Homesick, Degrupo, Pez, Denis Ouch, Great Boxers, Atomiko, Morcky, Elena Ohlander, Face, Masnah, SKE, Rich Ayers, Gleibys, Genius, JEST, Tesoe, Extra Polo, Lino Ozon, Maestro, Spray Paint Arts, and Emerge 710.
“Architecture Sculpture Painting Music Poetry Dance Performing Vandalism”
At first glance, these forms diverge, yet the broader realm of the arts and culture cannot deny that street art often involves vandalism. How do we reconcile this, or is the point too obvious? Some argue that vandalism discredits artistic value, with the act of breaking laws undermining the legitimacy of the message. Others see vandalism as an essential method, embedding its impact in its defiance. By choosing to act outside the law, the artist magnifies the work’s power and compels attention. Still, others view the act as a provocative, high-risk form of public dialogue, forcing questions about authority, access, and the right to occupy space—or even have a voice.
Recognizing vandalism as the illegal destruction of property is important. So is examining its context. In marginalized neighborhoods—left as open pits of decay by systems of power—street art often reclaims spaces long ignored. This challenges a public policy focus that targets graffiti artists while overlooking the larger forces of urban decay. If we have the energy and resources to pursue the teenage vandal with a spray can, shouldn’t we also jail the person who dumped chemicals into the water supply beneath the lot?
Elfo’s unauthorized wall message provokes a deeper question: if resources exist to penalize street artists, shouldn’t the same effort address the corporate or systemic neglect that leaves these walls abandoned? Elfo’s list, like much street art, demands a response—it’s his style. It forces a reassessment of how we value public spaces and who gets to define their use. Can we dismiss the artist’s work only as destruction when it activates forgotten spaces and sparks critical debate? Or does illegality override the art’s intent? Street art isn’t just visual; it’s often a direct confrontation with the systems that govern public life and urban spaces.
We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2024. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
This year, in Belfast, Northern Ireland, we had the honor of meeting many community and neighborhood people, historians who shared stories of The Troubles, people still deeply affected by them, graffiti writers, street artists, and festival organizers. The creative spirit has a way of helping us see our age and ourselves. The painting duo Odisy knows how to celebrate hip-hop culture and some of graffiti’s roots while fully embracing the adventures that await us.
Let’s be optimistic for the new year, a year full of possibilities.
For a decade, SaveArtSpace has transformed New York’s streets into open-air galleries, reclaiming advertising spaces as canvases for public expression. …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
| Title: Kodak Girl. From The Martha Cooper Collection / Edited by John P. Jacob
| Steidl. Germany, 2011
| Authors: John P. Jacob, Alison Nordstrom, and Nancy M. West
| Language: English
