All posts tagged: John Fekner

BSA “Images of the Year” for 2015 : New Video

BSA “Images of the Year” for 2015 : New Video

Was 2015 the “Year of the Mural”?

A lot of people thought so, and the rise of commercial festivals and commissioned public/private mural programs probably brought more artists to more walls than in recent history. Judging from the In Box, 2016 is going to break more records. Enormous, polished, fully realized and presented, murals can hold a special role in a community and transform a neighborhood, even a city.

But they are not the “organic” Street Art that draws us into the dark in-between places in a city, or at its margins.

We keep our eyes open for the small, one-off, idiosyncratic, uncommissioned, weirdo work as well, as it can carry clues about the culture and reveal a sage or silly solo voice.  It also just reinforces the feeling that the street is still home to an autonomous free-for-all of ideas and opinions and wandering passions. For us it is still fascinating to seek out and discover the one-of-a-kind small wheatpastes, stencils, sculptures, ad takeovers, collages, and aerosol sprayed pieces alongside the enormous and detailed paintings that take days to complete.

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The main image above is from a vinyl subway advertisement that was high-jacked and we published it in February of this year on our Images of the Week posting. It’s small, personal, and very effective as you can see someone suspiciously similar to Batman is jumping out of the mouth of someone looking awfully similar to Hedwig of “Angry Inch” fame.

Of the 10,000 or so images photographer Jaime Rojo took in 2015, here are a selection 140+ of the best images from his travels through streets looking for unpermissioned and sanctioned art.

Brooklyn Street Art 2015 Images of the Year by Jaime Rojo

 

Brooklyn Street Art 2015 Images of the Year by Jaime Rojo includes the following artists;

365xlos43, Amanda Marie, Andreas Englund, Augustine Kofie, Bisser, Boijeot, Renauld, Bordaloli, Brittany, BunnyM, Case Maclaim, Casg, Cash4, CDRE, Clet, Cost, Curve, Dain, Dal East, Dan Budnik, Dan Witz, David Walker, DeeDee, Dennis McNett, Don Rimx, Ricardo Cabret, LNY, Alex Seel, Mata Ruda, Don’t Fret, Dot Dot Dot, ECB, El Mac, El Sol25, Ella & Pitr, Eric Simmons, Enest Zacharevic, Martha Cooper, Martin Whatson, Ever, Faile, Faith47, Findac, Futura, Gaia, Gilf!, Hanksy, Hellbent, Hot Tea, How & Nosm, Icy and Sot, Inti, Invader, Isaac Cordal, James Bullough, Janet Dickson, Jef Aerosol, Jilly Ballistic, Joe Iurato, John Fekner, Le Diamantaire, Li Hill, LMNOPI, London Kaye, Low Brow, Marina Capdevilla, Miss Van, Mr. Prvrt, Mr. Toll, Myth, Nafir, Nemos, Never Crew, Nick Walker, Nina Pandolofo, Old Broads, Oldy, Ollio, Os Gemeos, Owen Dippie, Paper Skaters, Pet Bird, Kashink, Smells, Cash4, PichiAvo, Pixel Pancho, QRST, ROA, Ron English, Rubin415, Saner, Sean 9 Lugo, Shai Dahan, Shepard Fairey, Sheryo & The Yok, Sinned, Sipros, Skewville, Slikor, Smells, Sweet Toof, Snowden, Edward Snowden, Andrew Tider, Jeff Greenspan, Specter, Stray Ones, Sweet Toof, Swil, Willow, Swoon, The Outings Project, Toney De Pew, Tristan Eaton, Various & Gould, Vermibus, Wane, Wk Interact

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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This article is also published on The Huffington Post

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Technology, Festivals, and Murals: 15 Years on the Street Art Scene

Technology, Festivals, and Murals: 15 Years on the Street Art Scene

It’s good to be asked to write an essay once in a while as it makes us take a step back and more fully examine a topic and appreciate it. On the occasion of Nuart’s 15th anniversary and it’s accompanying print publication last week Martyn Reed asked us to look at the street art / urban art / graffiti scene and to give an analysis about how it has changed in the time that the festival has been running. The essay is a long one, so grab a cup of joe and we hope you enjoy. Included are a number of images in and around Stavanger from Jaime Rojo, not all of them part of the festival, including legal and illegal work.

Technology, Festivals, and Murals as Nuart Turns 15

Steven P. Harrington and Jaime Rojo

Nuart is turning 15 this year and like most brilliant teenagers it is alternately asking you challenging questions, finding you somewhat uncool, or is on your tablet ordering a new skateboard with your credit card. Nuart started with mainly music and is now mainly murals; an internationally well-regarded venue for thoughtfully curated urban art programs and erudite academic examination – with an undercurrent of troublemaking at all times. Today Nuart can be relied upon to initiate new conversations that you weren’t expecting and set a standard for thoughtful analysis of Street Art and its discontents.

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Pøbel (photo © Jaime Rojo)

We are in the thick of it, as it were, this great expansion of a first global grassroots people’s art movement. Give it any title you like, the flood of art in the streets that knocks on BSA’s door daily is unabated. We admit that we often get caught up in the moment and forget to study our forebears, Street Art’s progenitors and contributors – and that we sometimes are unable to appreciate the significance of this incredible time. So we are happy when the Nuart team asked us to take a long view of the last fifteen years and to tell them what we see.

As we mark Nuart’s milestone, we see three important developments on the Street Art scene while it evolves: Technology, Festivals, and Murals.

And just before we discuss these three developments in Street Art we emphasize what has stayed the same; our own sense of wonder and thrill at the creative spirit, however it is expressed; we marvel to see how it can seize someone and flow amidst their innermost, take hold of them, convulse through them, rip them apart and occasionally make them whole.

What has changed is that the practice and acceptance of Street Art, the collecting of the work, it’s move into contemporary art, have each evolved our perceptions of this free-range autonomous descendant of the graffiti practice that took hold of imaginations in the 2000s. At the least it hasn’t stopped gaining converts. At this arbitrary precipice on the timeline we look back and forward to identify three impactful themes that drive what we are seeing today and that will continue to evolve our experience with this shape-shifting public art practice.

 

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Ben Eine (photo © Jaime Rojo)

Technology

Hands down, a primary genesis for the far flung modern embrace of Street Art/Urban Art/Graffiti/public art lies in the booster rocket that propelled it into nearly everyone’s hands; digital communication and all its sundry technologies. From the early Internet websites and chat rooms accessed from your desktop to digital cameras and photo sharing platforms like Flickr in the early-mid 2000s to ever more sophisticated search technology and its accompanying algorithms, to blogs, micro blogs, and social media platforms, to the first generations of laptops and tablets, iPhones and Android devices; the amazing and democratizing advance of these communicative technologies have allowed more of us to access and share images, videos, experiences and opinion on a scale never before imagined – entirely altering the practice of art in the streets.

Where once there had been insular localized clans of aerosol graffiti writers who followed arcane codes of behavior and physical territoriality known primarily to only them in cities around the world, now new tribes coalesced around hubs of digital image sharing, enabling new shared experiences, sets of rules, and hierarchies of influence – while completely dissolving others.

 

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Tilt (photo © Jaime Rojo)

As old guards re-invented a place for themselves or disappeared altogether, a new order was being remixed in front our eyes. There were a lot of strangers in the room – but somehow we got used to it. Rather than making street art pieces for your local peers, artists began making new compositions for somebody’s phone screen in London or Honolulu or Shanghai.

Cut free from soil and social station, now garden variety hoodlums and brilliant aesthetes were commingling with opportuning art collectors, curious gallerists, unctuous opinionators, punctilious photographers and fans… along with product makers, promoters, art-school students, trend watchers, brand managers, lifestyle marketers, criminologists, sociologists, journalists, muckrakers, academics, philosophers, housewives, and makers of public policy. By virtue of climbing onto the Net everyone was caught in it, now experiencing the great leveling forces of early era digital communications that decimated old systems of privilege and gate keeping or demarcations of geography.

Looking forward we are about to be shaken again by technology that makes life even weirder in the Internet of Everything. Drone cams capture art and create art, body cams will surveil our activity and interactions, and augmented reality is merging with GPS location mapping. You may expect new forms of anonymous art bombing done from your basement, guerilla image projecting, electronic sign jamming, and perhaps you’ll be attending virtual reality tours of street art with 30 other people who are also sitting on their couches with Oculus Rifts on. Just watch.

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Swoon and David Choe (photo © Jaime Rojo)

Festivals

Thanks to the success of festivals like Nuart, myriad imitators and approximaters have mushroomed in cities everywhere. Conceived of philosophically as a series of stages for the exhibition of artistic chops with the proviso that a cultural dialogue is enriched and moved forward, not all festivals reach those goals.

In fact, we have no reason to expect that there is one set of goals whatsoever and the results are predictably variable; ranging from focused, coherent and resonant contributions to a city to dispersed, unmanageable parades of muddy mediocrity slammed with corporate logos and problematic patronage.

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MCity (photo © Jaime Rojo)

Some festivals are truly grassroots and managed by volunteers like Living Walls in Atlanta or MAUI in Fanzara, Spain. Others are privately funded by real estate interests like Miami’s Wynwood Walls or business improvement district initiatives like the L.I.S.A. Project and LoMan Festival in Manhattan, or are the vision of one man who has an interest in Street Artists, like the now-discontinued FAME festival in the small town of Grottaglie, Italy and the 140 artist takeover of a town in Tunisia called Djerbahood that is organized by an art dealer.

In some ways these examples are supplanting the work of public art committees and city planners who historically determined what kind of art would be beneficial to community and a public space. Detractors advance an opinion that festivals and personal initiatives like this are clever ways of circumventing the vox populi or that they are the deliberate/ accidental tools of gentrification.

We’ve written previously about the charges of cultural imperialism that these festivals sometimes bring as well where a presumed gratitude for new works by international painting superstars actually devolves into charges of hubris and disconnection with the local population who will live with the artwork for months and years after the artist catches a plane home.

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Dotmasters (photo © Jaime Rojo)

Nonetheless, far from Street Arts transgressive and vandalous roots, the sheer number of Street Art/Urban Art/Mural Art festivals that have popped up – either freestanding or as adjuncts to multi-discipline “arts” festivals – is having the effect of creating a wider dialogue for art in the public sphere.

As artists are invited and hosted and scissor lifts are rented and art-making materials are purchased, one quickly realizes that there are real costs associated with these big shows and the need for funding is equally genuine. Depending on the festival this funding may be private, public, institutional, corporate, or an equation that includes them all.

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Faith47 (photo © Jaime Rojo)

As you may expect, the encroachment of commercial interests is nearly exhaustive in some of these newer festivals, so eager are the merchants to harvest a scene they had little or no hand in planting. Conceived of as vehicles for corporate messaging, they custom-build responsive websites, interactive Apps, clouds of clever #hashtags, company logos, Instagram handles, branded events and viral lifestyle videos with logos sprinkled throughout the “content”.

You may recognize these to be the leeching from an organic subculture, but in the case of this amorphous and still growing “Street Art Scene” no one yet knows what lasting scars this lifestyle packaging will leave on the Body Artistic, let alone civic life.

 

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Icy & Sot (photo © Jaime Rojo)

Stylistically these festivals can be a grab bag as well with curatorial rigor often taking a back seat to availability, accessibility, and the number of interested parties making nominations. While some festivals are clearly leaning toward more traditional graffiti schools, others are a hodgepodge of every discernable style from the past fifty years, sometimes producing an unpleasant sense of nausea or even tears over regrettable missed opportunity.

Clearly the quality is often uneven but, at the danger of sounding flip or callous, it’s nothing that is not easily remedied by a few coats of paint in the months afterward, and you’ll see plenty of that. Most art critics understand that the metrics used for measuring festival art are not meant to be the same as for a gallery or museum show. Perhaps because of the entirely un-curated nature of the organic Street Art scene from which these festivals evolved in some part, where no one asks for permission (and none is actually granted), we are at ease with a sense of happenstance and an uneven or lackluster presentation but are thrilled when concept, composition, and execution are seated firmly in a brilliant context.

 

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TUK (photo © Jaime Rojo)

Murals

Finally, murals have become big not just in size but popularity. Every week a street artist is exclaiming that this mural is the biggest they have every made. It is a newfound love, a heady honeymoon, a true resurgence of muralism. Even though you can’t rightly call this legal and sanctioned work true Street Art, many former and current Street Artists are making murals.

Un-civically minded urban art rebels have inferred that Street Art has softened, perhaps capitulated to more mainstream tastes. As Dan Witz recently observed, “Murals are not a schism with Street Art as much as a natural outgrowth from it.” We agree and add that these cheek-by-jowl displays of one mural after another are emulating the graffiti jams that have been taking place for years in large cities both organic and organized.

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JPS . Mizo (photo © Jaime Rojo)

From illustration to abstraction to figurative to surreal and even letter-based, this eclectic injection of styles won’t bring to mind what one may typically associate with the homegrown community mural. Aside from the aforementioned festivals that are festooning neighborhoods, the growth in mural-making may be attributable to a trend of appreciation for Do It Yourself ( D.I.Y.) approaches and the ‘makers’ movements, or a desire to add a personal aspect to an urban environment that feels unresponsive and disconnected.

Philadelphia has dedicated 30 years to their Mural Arts Program and relies on a time-tested method of community involvement for finalization of designs and most municipal murals have a certain tameness that pleases so many constituencies that no one particularly cares for them.

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Herakut (photo © Jaime Rojo)

The New Muralism, as we have been calling it, that is popping up is often more autonomous and spirited in nature than community mural initiatives of the past with their ties to the socio-political or to historical figures and events. Here there are few middlemen and fewer debates. Artists and their advocates approach building owners directly, a conversation happens, and a mural goes up.

In the case of upstart community programs like the Bushwick Collective in Brooklyn, one trusted local person is ambassador to a neighborhood, insuring that community norms about nudity or politics are respected but otherwise acts purely as facilitator and remains hands-off about the content.

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JPS (photo © Jaime Rojo)

On that topic, effectively a form of censoring often takes place with murals – another distinguishing characteristic from Street Art. Given the opportunity to fully realize an elaborate composition, normally wild-eyed and ornery aerosol rebels bend their vision to not offend. Sometimes an artist can have more latitude and you may find a mural may clearly advocate a political or social point of view, as in recent murals addressing police brutality, racism, and inequality in many US cities, anti-corruption sentiments in Mexico, and pro-marriage equality in France and Ireland.

This new romance with the mural is undoubtedly helping artists who would like to further explore their abilities in more labor-intensive, time absorbing works without having to look over their shoulder for an approaching officer of the law. It is a given that what they gain in polished presentation they may sacrifice as confrontational, radical, contraventional, even experimental. The resulting images are at times stunning and even revelatory, consistent with the work of highly skilled visionaries, as if a new generation of painters is maturing before our eyes in public space where we are all witness.

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Artist Unknown (photo © Jaime Rojo)

Moving Forward

Despite the rise in festivals and mural programs and the growing volume and sophistication of technology for sharing of the images, Street Art is still found in unexpected places and the decay of neglected spaces. As before and well into the future these self ordained ministers of mayhem will be showing their stuff in the margins, sometimes identified, sometimes anonymous, communicating with the individual who just happens to walk by and witness the work. The works will impart political or social messages, other times a simple declaration that says, “I’m here.”

Whatever its form, we will be looking for it.

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Isaac Cordal (photo © Jaime Rojo)

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Niels Show Meulman (photo © Jaime Rojo)

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Nafir (photo © Jaime Rojo)

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John Fekner (photo © Jaime Rojo)

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Blek le Rat (photo © Jaime Rojo)

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Dan Witz (photo © Jaime Rojo)

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Site of an old piece by BLU (photo © Jaime Rojo)

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Dieche (photo © Jaime Rojo)

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HUSH (photo © Jaime Rojo)

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Dolk (photo © Jaime Rojo)

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Strok (photo © Jaime Rojo)

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ROA (photo © Jaime Rojo)

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The remnants of a Phlegm piece from a previous edition of Nuart. (photo © Jaime Rojo)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
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Poetry, Prose and Witty Texting: The Conversation on The Street

Poetry, Prose and Witty Texting: The Conversation on The Street

“True poetry cares nothing for poems” says Raoul Vaneigem, the Belgium Situationist who taught us that we are creating our lives twenty-four hours a day, in his book “The Revolution of Everyday Life.” The act of living is a certain poetry in itself, we have decided.

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Jef Aeorosl pays tribute to Andy Warhol on the streets of Brooklyn. (photo © Jaime Rojo)

When an artist is acting of his or her own industry, they will think, will consider their choice of written words on the street. Poetry or prose; full stanza, furtive phrase, stalwart screed – the message is not incidental if it has made it into the public space for a theater of many possible audiences.

Over time you will see these hand rendered, scrawled, sprayed, paint-brushed text-based missives as diary entries. Not all are profound, and many are perplexing or maddeningly cryptic or coy. Others are statements of conviction or punch lines. Lucky you on the day the sentiment hits you in the funny bone, hits closer to the heart, or reveals a truth. Perhaps you’ll be inspired to add your own entry in response to, or in spite of this conversation on the street.

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John Fekner (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Queen Andrea (photo © Jaime Rojo)

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Dont Fret (photo © Jaime Rojo)

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Homo Riot (photo © Jaime Rojo)

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Rambo (photo © Jaime Rojo)

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Rambo (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Skewville (photo © Jaime Rojo)

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Tatyana Fazlaliadeh (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Ben Eine (photo © Jaime Rojo)

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Chivalry is dead. (photo © Jaime Rojo)

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Forgive (photo © Jaime Rojo)

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Peace (photo © Jaime Rojo)

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Elbow toe (photo © Jaime Rojo)

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Zimad (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Artist Unknown (photo © Jaime Rojo)

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Untitled (photo © Jaime Rojo)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
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A Community Mural Festival in NYC, Highlights From Welling Court 2015

A Community Mural Festival in NYC, Highlights From Welling Court 2015

An annual mural tradition of non-pretense, New York hosted the 6th Annual Welling Court mural festival this weekend in a working class neighborhood in Queens, thanks to a grassroots couple who hustle to match artists with walls and opportunity. More than a hundred artists, whose styles span the graffiti-urban art-street art spectrum, participate every year in this community event that eschews the creeping fingers of commercial interests and the pontificating tongues of the art critics.

That is not the point here. That’s not why you fell in love with Street Art and the unvarnished expression of the creative spirit.

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LMNOPI. Process shot. (photo © Jaime Rojo)

Thanks to hearty and big-hearted organizers Alison and Garrison Buxton, the selection is as varied as the participants and the neighbors who come out to share home made dishes, music, and personal stories. Invariably the kids are racing around on their bikes and skates, people are meeting artists and posing for selfies, and some of the kids get to try their hand at painting.

So if you want to see what some of the organic art work is on the scene at the moment, walk through this unassuming Queens neighborhood with us and enjoy the real beat of New York. It’s a small selection, but you can get the flavor.

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LMNOPI. Process shot. (photo © Jaime Rojo)

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LMNOPI (photo © Jaime Rojo)

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John Fekner (photo © Jaime Rojo)

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Amanda Marie (photo © Jaime Rojo)

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Icy & Sot. Process shot. (photo © Jaime Rojo)

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Icy & Sot. Process shot. (photo © Jaime Rojo)

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Icy & Sot. Process shot. (photo © Jaime Rojo)

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Icy & Sot (photo © Jaime Rojo)

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XO. Detail. (photo © Jaime Rojo)

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Rubin415 . Joe Iurato (photo © Jaime Rojo)

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Too Fly. Process shot. (photo © Jaime Rojo)

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Too Fly (photo © Jaime Rojo)

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Peace (photo © Jaime Rojo)

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WANE (photo © Jaime Rojo)

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C. Cardinale. Process shot. (photo © Jaime Rojo)

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C. Cardinale (photo © Jaime Rojo)

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Damien Mitchell (photo © Jaime Rojo)

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Queen Andrea . Mick La Rock. Process shot. (photo © Jaime Rojo)

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Queen Andrea . Mick La Rock (photo © Jaime Rojo)

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SHIRO (photo © Jaime Rojo)

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Andy Golub . Leif G. Process shot. (photo © Jaime Rojo)

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Andy Golub . Leif G. (photo © Jaime Rojo)

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
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Sneak Peek “Concrete to Data” at Steinberg Museum

Sneak Peek “Concrete to Data” at Steinberg Museum

Curator and artist Ryan Seslow has pulled off an overview of art on the streets and the practices employed, minus the drama. So much discussion of graffiti, Street Art, and public art practice can concentrate on lore and turf war, intersections with illegality, the nature of the “scene”, shades of xenophobia and class structures; all crucial for one’s understanding from a sociological/anthropological perspective.

“Concrete to Data”, opening this week at the Steinberg Museum of Art on Long Island, gives more of the spotlight to the historical methods and media that are used to disseminate a message, attempting to forecast about future ways of communicating that may effectively bridge the gap between the physical and the virtual.

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Joe Iurato. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

Seslow has assembled an impressive cross section of artists, practitioners, photographers, academics, theorists, and street culture observers over a five-decade span. Rather than overreaching to exhaustion, it can give a representative overview of how each are adding to this conversation, quickly presenting this genre’s complexity by primarily discussing its methods alone.

Here is a sneak peek of the the concrete (now transmitted digitally); a few of the pieces for the group exhibition that have gone up in the last week in the museum as the show is being installed.

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Chris Stain. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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Cake. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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Lady Pink at work on her mural. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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John Fekner. Detail of his stencils in place and ready to be sprayed on. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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Henry Chalfant. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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Billy Mode. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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Oyama Enrico. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

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Col Wallnuts. Detail. Concrete To Data. Steinberg Museum of Art. LIU (photo © Jaime Rojo)

 

CONCRETE to DATA will be exhibited at the Steinberg Museum of Art, Brookville, NY January 26th 2015 – March 21st 2015.

Opening Reception – Friday, February 6th  2015 6PM -9 PM 

Follow the news and events via – http://concretetodata.com

Follow @concretetodata on Instagram – #concretetodata

Curated by Ryan Seslow@ryanseslow

Museum Director – Barbara Appelgate

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GIFFITTI and the Eye Popping Animations of Ryan Seslow

GIFFITTI and the Eye Popping Animations of Ryan Seslow

You think that maybe the animated GIF is the equivalent of graffiti on the digital wall?

Artist Ryan Seslow has been experimenting for a little while with that hyper eye-blitzing looping tag called the animated GIF – and today you’re getting splendid platter of GIFs like holiday cookies glistening before you. With bright visual references to graffiti history, culture and art, Seslow manages to simplify the vernacular in a poppy way that pushes the work into a playful cartoon realm – like the stuff on subway cars in the 70s. If the connection to Street Art isn’t clear, he has also been doing artful collaborations with a number of figures you may have seen on the street and in subway stations.

“It has been great fun so far working with Cake and Jilly Ballistic and we are making more!” says Seslow of this collaborative approach to GIF making. “I wanted to work with them both because they have great contrasting work that translates well on the street, subway tunnels and as digital images online.”

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Ryan Seslow (gif © Ryan Seslow)

So far Seslow has been “trickling out the gifs one at a time” on his blog and as a project with RJ Rushmore of the blog Vandalog. They will be exhibiting their project entitled “Encrypted Fills” at the end of January for Concrete to Data in the Steinberg Museum of Art.  Seslow’s GIF animations will include a host of other graffiti and Street Artists including Stinkfish,  Broken Fingaz,  General Howe,  Caroline Caldwell,  Abe Lincoln Jr.,  Gaia,  Enzo & Nio,  John Fekner,  Olek,  Ryan Seslow,  Swampy,  Peter Drew,  Adam VOID,  Rone,  Enzo Sarto, and Leon Reid IV.

In the meantime all these jolting lights may make you think of the first night of Hannukah (tonight) as well as all the Christmas lights that are blinking from apartment windows overhead wherever you go on the street. Enjoy!

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Ryan Seslow (gif © Ryan Seslow)

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Ryan Seslow (gif © Ryan Seslow)

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Ryan Seslow (gif © Ryan Seslow)

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Ryan Seslow (gif © Ryan Seslow)

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Ryan Seslow (gif © Ryan Seslow)

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Ryan Seslow in collaboration with CAKE. (gif © Ryan Seslow)

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Ryan Seslow in collaboration with CAKE. (gif © Ryan Seslow)

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Ryan Seslow in collaboration with Jilly Ballistic. (gif © Ryan Seslow)

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Ryan Seslow in collaboration with Jilly Ballistic. (gif © Ryan Seslow)

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Ryan Seslow in collaboration with Jilly Ballistic. (gif © Ryan Seslow)

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Ryan Seslow in collaboration with Jilly Ballistic. (gif © Ryan Seslow)

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Ryan Seslow in collaboration with Jilly Ballistic. (gif © Ryan Seslow)

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NUART 2014 Roundup : Activism, Muralism, Graffiti and Aesthetics

NUART 2014 Roundup : Activism, Muralism, Graffiti and Aesthetics

The Norwegian mural festival named Nuart took place last week with a marked tilt toward the conceptual and the interventionist, a direct debate about the relevance of activism amidst a rising tide of sanctioned murals, and Tilt leading us down a path toward traditional graffiti.

Ironically graffiti seemed a rather tame topic for once.

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TILT. “Panic Room” Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

“Urban interventionism is about not only making social commentary through artistic expression, but actually intervening in a public and social space in a poetic, unexpected or provocative way,” said architect and organizer Nicola Markhus when speaking to the local Stavangernews. Markhus may have been thinking about the Portuguese artist ±Maismenos±, who constructed a miniature oil tanker platform from found objects and installed it temporarily atop a sculpture honoring canning workers in Lervig Courtyard, by way of contrasting the past with the present.

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±MaisMenos± NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

Or maybe she was thinking about the Madrid-based SpY, who painted a massive red-lettered “ERROR” on two sides of a brutal block long building in decay down by the waterside, an ironic judgment on the eyesores of unfortunate urban decay. Among the contextual social commentary as well were the oil-dripping sentiments of geologist/artist Andreco, who regaled the façade of a classic Norwegian building with his geometric interpretation of rocks found poking up from the soil, and the three dimensional mural of homeless people by Brooklyn-based Iranian brothers Icy & Sot only three blocks from an outdoor encampment of homeless travelers whom some locals call gypsies.

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SpY. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

Such is one of the traditions of Street Art: social and political commentary that some call activism because of its advocacy, or at least its stubborn acknowledgement of imperfections in the human condition. This year’s Nuart fosters the spirit and intellectual pursuit associated with academic examination and in doing so again separates itself from the growing number of Street Art festivals who implicitly or explicitly censor the choices of the invited due to commercial or political pressures. Even during the painting this year there were conversations among artists about a high profile festival underway elsewhere that had just dis-invited certain Street Artists because of their “political” work in the past.

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John Fekner. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

As if to drive the point home, New York street and multimedia artist John Fekner, who created hundreds of environmental, social, political and conceptual works consisting of stenciled words in NYC beginning in the 1970s that highlighted failed urban planning and public policy, was invited to reprise his classic text based “False Promises” stencil here. The choice of Fekner was perhaps atypical and one that could be overlooked if Nuart founder Martyn Reed didn’t decide to champion the artists work in his mini-retrospective indoors.

And need we mention that his indoor installation space for Saturday’s gallery opening was shared by Fra.Biancoshock’s instantly controversial merging of the nazi flag with the Facebook logo? Moments after we posted an early image of the installation in progress, cheers and condemnation populated our social media feeds – a happy discord that Nuart isn’t traditionally spooked by.

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Fra.Biancoshok. Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

“This is a representation of two different iconic movements; the Nazis and the Facebook age,” says the Milan based Fra.Biancoshock who specializes in street interventions, not Street Art, per se. “I wanted to unite the two concepts in a unique logo as a way of describing two different ways to have control of the masses in two different ages. It is a provocative representation that is meant to say, ‘Imagine if these two things had met in the same period,’ ” he explains of the illuminated wheel of instantly recognizable letter f’s popping from a four alarm red background at the temporary gallery show in “tunnels” at Tou Scene.

“Obviously the story of the Nazis is very dramatic and heavy and Facebook is only social media but for me if it is not used in the right way it could result in some serious damage; in the areas of privacy, in having control (of people). So I wanted to make this interpretation of our contemporary situation of a certain totalitarianism in our communications today.”

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DOT DOT DOT. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

Comparatively the graffiti writer on display this year is a relative lightweight! Toulous-based Tilt actually created one of the more visually compelling installations (and an instant hit) at the indoor gallery of Tou Scene entitled “Panic Bathroom”, which consists of a tiled men’s restroom evenly split between YMCA and CBGB. The untouched half is pristine and gleaming white while its brother across the line is slaughtered floor to ceiling by pugilistic color, swollen bubbles and drippy tags; all just out of reach of the velvet rope that holds guests back.

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±MaisMenos± NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

For the Norwegian born Street Artist named Strøk, Nuart this year is as much about aesthetics and the beauty of the moment as it is the intellectualizing that was on display here during the pub debate and two days of presentations for Nuart PLUS, organized by Eirik Sjåholm Knudsen. He shows us his rendering of figures casting long shadows across the wall on his glossy tablet and he talks about composition, negative space, and the serendipity of catching figures in motion.

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Strøk. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

“I like watching people running around and seeing these movements, these frozen moments when they are heading somewhere but you don’t know exactly where – like a moment when time has frozen,” he says. “It’s a snapshot and you just happened to be there.”

Fortunately for many Nuart still knows how to produce a memorable shot of art in the public sphere, and we have some here for you to enjoy.

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±MaisMenos± created Norway/No Way as a commentary about joining the European Union. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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±MaisMenos± Detail. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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±MaisMenos± Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

 

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TILT. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Andreco. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Andreco. Deatil. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Andreco. Detail of his installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

 

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SPY. Installation at TOU Scene enabled you to see the “error” part of the word only when the black light revealed it. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Martin Whatson. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Martin Whatson. Installation at TOU Scene.  NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Martin Whatson completed this new mural at the airport – after being stranded on top of the cherry picker for a few hours the first day because the balance was off. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Strøk’s new mural on the right and a large ground installation on the left by ±MaisMenos±. NUART 2014. Stavanger, Norway. (photo © Anders Gjennestad)

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Levalet was one of many of the artists this year who made direct or indirect reference to the oil industry – the one that powers the economy in this town and much of the country. Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Levalet. Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

 

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Icy & Sot created this mammoth 3-D installation with wooden cut-out stencils rising above the edge of the the building. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Icy & Sot. Installation at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Not an official guest this year Hama Woods was one of a number of artists who autonomously brought work to put up during NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Etam Cru. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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M-City. Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Borondo. Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Borondo. By scratching paint from the front of the glass and painting diagrams or symbols on the back, Borondo created a full illustration with shadow on the wall when illuminated correctly. Detail of the installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Levalet’s outside installations. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Levalet. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Mathieu Tremblin created an interactive piece that guests could participate in by photographing themselves before a bluescreen wall and sending the image to him. Installation at TOU Scene. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Due to torrential rains Borondo couldn’t complete this wall before we left for NYC. Here is a composite image of the wall in progress. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

BSA would like to extend special thanks to photographers Butterfly and Henrik Haven for sharing their work with BSA readers.

Our sincere thanks to Nuart director Martyn Reed and the entire staff of Nuart and Nuart PLUS, including all of the volunteers and organizers.

 

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NUART 2014 Begins with “Broken Promises”

ETAM CRU AND NUART 2014 X BSA

NUART 2014 X BSA UPDATE 3

NUART 2014 X BSA UPDATE 4

NUART 2014 X BSA UPDATE 5

NUART 2014 X BSA UPDATE 6

 

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
 
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This article is also published in The Huffington Post 

 

 

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NUART 2014 X BSA  UPDATE 6

NUART 2014 X BSA UPDATE 6

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Now back in Nueva York but what a blast! Nuart 2014 and Nuart Plus and Numusic wound down to a screeching halt on Sunday as revelers from the opening at the scene the night before held their heads and spoke in gentle quiet tones while squinting through the misty grey day.

Actually Krystel Talv and her husband seemed surprisingly fresh under orange umbrellas as they led a small army of 200+ people on a tour through the streets to see the new walls, so apparently some people know the meaning of moderation. Also photographers Henrik Haven and Butterfly were pleasingly perched high in the bucket atop an extended cherry picker snapping the new Tilt grenade wall while academic/author Peter Bengtsen was crouched in his rain slicker, camera in hand, before the 3-D Icy & Sot wall.

As punctuation to a full week of murals, Street Art, lectures, movies, panels, pub debates, pizza, art and aerosol fumes, Dotmasters spontaneously brought a fresh stencil out to spray outside the Nuart temporary HQ (see below) bringing a stunning week to a perfect ending.  Stay tuned for a Nuart roundup!

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Coke adds life! Icy & Sot. Ad Take Over. Stavanger, Norway. (photo © Steven P. Harrington)

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Have a Coke and a smile! Icy & Sot. Ad take over. Stavanger, Norway. (photo © Icy & Sot)

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Icy & Sot working late into the night drilling wood stencil silhouettes of homeless folks into their wall for NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Icy & Sot managed to do a cool workshop with local Stavanger youth on Saturday in addition to their installations at Tou Scene and around town. Here is the result – a group photo of the students transformed into a large stencil. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Borondo at work on his wall. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Borondo at work on his wall. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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Strøk at work on his wall. NUART 2014. Stavanger, Norway. (photo © Henrik Haven)

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±MaisMenos± Detail of his installation at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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TILT working on his installation “Panic Bathroom” Friday night with assistant Vince at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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TILT at work on his wall. NUART 2014. Stavanger, Norway. (photo © Henrik Heaven)

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TILT up in a bucket while Vince teeters on the ladder. NUART 2014. Stavanger, Norway. (photo © Henrik Heaven)

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TILT at work on his wall. NUART 2014. Stavanger, Norway. (photo © Butterfly)

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TILT caught a couple bubbles while in Stavanger, Norway. (photo © Butterfly)

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New York’s John Fekner. Detail of his installation in progress at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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The French Street Artist Levalet along the main tunnel wall at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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Levalet. Detail of his installation at Tou Scene. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

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We caught Dotmasters putting up a stencil in the backyard just before grabbing a taxi to the airport on the last day in Stavanger.  Dude had been tirelessly directing all the installation at Tou Scene all week, including the logistics and the stunning lighting. (photo © Steven P. Harrington)

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David Choe making a sandwich with Swoon from a previous edition of NUART. Stavanger, Norway. (photo © Steven P. Harrington)

NUART 2014 Begins with “Broken Promises”

ETAM CRU AND NUART 2014 X BSA

NUART 2014 X BSA UPDATE 3

NUART 2014 X BSA UPDATE 4

NUART 2014 X BSA UPDATE 5

 

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
 
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BSA Film Friday 09.05.14 – Tonight LIVE at NUART 2014

BSA Film Friday 09.05.14 – Tonight LIVE at NUART 2014

Brooklyn-Street-Art-Swoon-740-Film-Friday-090514-Screen-Shot-2014-09-04-at-6.38

 

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Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :

1. Swoon and Submerged Motherlands
2. Nuart PLUS features BSA FILM FRIDAY LIVE
3. John Fekner: NUART 2014 Teaser Video
4. ETAM CRU: NUART 2014 Teaser Video
5. DOT DOT DOT: NUART 2014 Teaser Video
6. ENTES Y PESIMO in Mexico City

BSA Special Feature: Swoon and Submerged Motherlands

This summer ended with the closing of Swoon’s “Submerged Motherlands” at the Brooklyn Museum; a nine month process that began for us by Jaime visiting her in studio during the cold January days when she began building much of the work that would be installed for the April opening. It has been a genuine pleasure to be associated with this show in some small way, including interviewing Swoon on stage at the museum, writing about the show as it opened, and documenting it. An integrated approach to life, biography, and the conversation on the street, Swoon’s work continues to inspire many others, including us, and we were pleased to see this thoughtful look some of the background of this artist and her work by the folks at The New York Times.

Tonight at Nuart 2014 – Nuart PLUS features BSA FILM FRIDAY LIVE

For all the Norwegian fans of BSA Film Friday and Street Art in general,  join us tonight in a theater in downtown Stavanger to see about 18 of our favorites short video pieces from the last year. Explorers, Experimenters, and Anti-Heroes – today’s global Street Art scene is visually rich and full of life! Can’t wait to meet you!

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John Fekner: NUART 2014 Teaser Video

 

ETAM CRU: NUART 2014 Teaser Video

 

DOT DOT DOT: NUART 2014 Teaser Video

 

ENTES Y PESIMO IN MEXICO CITY

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NUART 2014 Begins with “Broken Promises”

NUART 2014 Begins with “Broken Promises”

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For our 6th consecutive year of covering Nuart for you BSA is actually here in Stavanger this time. The plane touched down at 2 pm with Icy and Sot on board as well from Brooklyn and we all were whisked away by waiting cars. BSA got to ride in the schmancy new Nuart branded Tesla – that has a screen on the dashboard big enough to serve an entire pizza on – and get an amazing tour by street art photographer Tor of all the previous walls that are still riding in this Norwegian port town. – Stuff we’ve posted for ya’ll but have never seen in person by ROA, C215, Nick Walker, Dot Dot Dot, Swoon, Dan Witz, Evol, DALeast, Vhils and more!

And of course the large phallic M-City out the plane window at the airport – can’t forget that.

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NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

The freshest new addition on the Nuart first tour came from veteran Street Artist and socio-political commentator John Fekner, who has reprised one of his famous text based “Word-Signs” from the bad old days of 1970s New York urban neglect. It was a shock to see this iconic placard on a Stavanger wall and a cool way to make the New York – Nuart connection.

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John Fekner. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

Mr. Fekner is on the official artist roster for this years’ festival, but you can count on seeing him at Nuart Plus along with special speakers including yours truly. Some interesting conversations and exchanging of information and opinion will buttress the brand new works outside by the guests artists, with presentations, discussion, film screenings, and plenty of herring. Just checking to see if you were still reading.

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Nuart wheels when you need them. NUART 2014. Stavanger, Norway. (photo © Steven P. Harrington)

 John Fekner Broken Promises Falsas Promesas South Bronx NY 1980

Click HERE for NUART 2014 full schedule of events and details.

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
 
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Rafael Schacter and His “World Atlas of Street Art and Graffiti”

Rafael Schacter and His “World Atlas of Street Art and Graffiti”

As we endure our one billionth snowstorm this winter we continue to paw through the stack of beautiful Street Art, graffiti, public art, and urban art books that we are honored to receive through the mail, and today we’re taken by The World Atlas of Street Art and Graffiti by Rafael Schacter, with foreword by John Fekner.

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

The substantial hardcover from Yale University Press is a very solid survey of largely undisputed practitioners of Street Art world wide as well as a number of lesser known names, accompanied by succinct and accurate overviews of their individual influences and styles. With contributors that include a good balance of graffiti artists, street artists, academics, authors, graphic designers, writers, and aestheticians of various stripes, Rafael Schacter has done his research; presenting 113 artists from 25 countries with illustrative photography and examples.

Aside from the thankless task of the editing of candidates that will necessarily leave out hundreds of great artists, Schacter endeavors to present a good cross-section, something that represents the scope of the “independent public art” that has now lifted the oeuvre to global recognition along with historical context and without the narrowly pinched European academic need to effect sanctimonious pronouncements or subtly derisive classist views upon it.

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

“Indeed, there are as many different motivations, styles, and approaches within this artistic arena as there are practitioners themselves – a ‘street art’ for every street artist, a ‘graffiti’ for every graffiti writer,” says Schacter in his introduction, and his appreciation for the fundamentals of a self-determination philosophy toward the act of creative expression permeates the descriptions and analysis while gaining your respect for his adept characterizations.

We gratefully acknowledge his help in trying to categorize and describe the enormous varieties of styles, practices and influences at play today, a quickly sampling of which includes for example abstractionist, absurdist, anti-aestheticism, character based, classic graffiti lettering, collage, conceptual, contemporary, culture jamming, decontextualization, decorative, digital/geek, figurative, folk, geometric, graphic design, illustration, indigenous, installation based, interventionist, naïve, performance, photo realistic, photographic, sculptural, surrealist, symbolic, and typographic.

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

With a brilliant and personal foreword by conceptual text-based and multimedia artist John Fekner, a veteran of the art-in-the-streets practice that predates the birth of many of the artists in the book, we get a scene-setting update on what collectively is evolving as well as an insight into what is feeding the explosive growth. “For the first time in history, artists who are creating art away from the major centers of art and culture are no longer at a disadvantage. The Internet has increased accessibility through the proliferation of blogs and social media, which has fueled hordes of dedicated fan bases using cell phones and cameras to instantly record, document, and post their interpretations of life, culture, and art online,” Fekner writes.

With a well-rounded atlas like this at hand the student, scholar, and fan can gain a greater understanding of the guys and girls that paint messages in the street as well as an appreciation for their minds and craft.

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

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Rafael Schacter “The World Atlas of Street Art and Graffiti”

 

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!
 
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Welling Court 2013 Is a Blast, Was the Last

This was the last edition of Welling Court.

Or it will be if you don’t help.

Garrison and Alison Buxton have spent countless hours, elbow grease and their own money to make this huge non-commercial Welling Court Mural Project happen 4 years in a row – giving free walls to a few hundred artist during that time.

Cost to us: Zilch, Zero, Nada

Cultural workers extraordinaire with a Rolodex list as long as the banquet table at an Italian wedding, these two have given more Street Artists artists more free opportunities than a block full of GO-GO bars. Wait, that didn’t sound right. But you get our point.

If not, here’s the point: Go pledge 10 bucks or a hundred bucks to their fundraiser for all the fun and true community spirit they have brought people for the last four years.

And this means all the artists who have been helped too. Should we start naming names?

After you pledge some money to their Indiegogo come back here and enjoy brand new images of the 4th Annual Welling Court installation. It may be the last time. And then all we will have left are logo-smothered festivals sponsored by cool “urban” lifestyle brands, real estate agents, energy drinks, and/or the Chamber of Commerce and The Daughters of the Revolution.  Jeez that’ll be fun, won’t it?

Welling Court Mural Project

El Kamino (photo © Jaime Rojo)

Skewville (photo © Jaime Rojo)

John Fekner . Don Leicht. (photo © Jaime Rojo)

Welling Court Mural Project

John Fekner. (photo © Jaime Rojo)

ND’A . Mataruda (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Foxx Face (photo © Jaime Rojo)

Hellbent (photo © Jaime Rojo)

Toofly (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Vexta at work. (photo © Jaime Rojo)

Vexta (photo © Jaime Rojo)

The Cupcake Guy (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Icy & Sot at work. (photo © Jaime Rojo)

Icy & Sot. Detail. (photo © Jaime Rojo)

Please TELL YOUR FRIENDS by:

Tweeting this:

Please Support #WellingCourtMuralProject on IndieGoGo http://bit.ly/1aNJXrH @AdHocArt

Pasting this on your FaceBook Wall:

Please Support #WellingCourtMuralProject on IndieGoGo http://bit.ly/1aNJXrH @AdHocArt

Sinned (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Ryan Seslow (photo © Jaime Rojo)

R. Robots (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Mike Fitzimmons at work. (photo © Jaime Rojo)

Mike Fitzimmons (photo © Jaime Rojo)

Mr. Kiji (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Queen Andrea (photo © Jaime Rojo)

LMNOP (photo © Jaime Rojo)

Welling Court Mural Project

Chris . Veng . RWK (photo © Jaime Rojo)

Rusell King . Matt Siren (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Cern (photo © Jaime Rojo)

Cosbe (photo © Jaime Rojo)

Please Donate to the Welling Court Mural Project

Magda Love (photo © Jaime Rojo)

Roycer says, “You giving 10 bucks?” Abe Lincoln Jr. says, “WERD!” Royce Bannon . Abe Lincoln Jr. (photo © Jaime Rojo)

JC (photo © Jaime Rojo)

For other images please see Images of the Week 6/06/13.

 

Please Donate to the Welling Court Mural Project

 

Previous 3 years on BSA:

Welling Court: A New York Mural Block Party Like No Other

Posted on June 27, 2012

Buxtons Bring “Welling Court 2″ to Queens, Artists and Scooters in Tow

Posted on June 28, 2011

Welling Up a Little? That’s the Street Art “Community” Feeling

Posted on May 24, 2010

 

Please TELL YOUR FRIENDS by:

Tweeting this:

Please Support #WellingCourtMuralProject on IndieGoGo http://bit.ly/1aNJXrH @AdHocArt

Pasting this on your FaceBook Wall:

Please Support #WellingCourtMuralProject on IndieGoGo http://bit.ly/1aNJXrH @AdHocArt

Thank you very much.

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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

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