Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening: 1. Luna Luna – The Art Amusement Park Returns 2. Gera 1 Combines Glitch and Figurative in Berlin 3. “Forever Is Now” Second Edition at Giza Pyramids via Art D’Egypte
BSA Special Feature: Luna Luna – The Art Amusement Park Returns
35 years after its first creation, the Luna Luna is resurrected from its original home in Hamburg in 1987 to tour other cities. Inspired by a traditional luna park,the original works like a Keith Haring Carousel, the Basquiat Ferris Wheel, and many other features designed by about 28 more artists like Kenny Scharf, Roy Lichtenstein, and David Hockney, they called this “The world’s first and only art amusement park.”
“As long as I can remember, I was always interested in distortion,” says Gera1 about this new mural in Berlin, which he says combines elements of figurative painting with glitch art. He doesn’t mention his sublime sense of color.
“Forever Is Now” Second Edition at Giza Pyramids via Art D’Egypte
Forever is Now .02 showcased ambitious works by Therèse Antoine (Egypt), Natalie Clark (USA/Spain), Mohammed Al Faraj (Saudi Arabia), Emilio Ferro (Italy), Zeinab Al Hashemi (UAE), JR (France), Ahmed Karaly (Egypt), Liter of Light, eL Seed (Tunisian), SpY (Spanish), Pascale Tayou (Cameroon) and Jwan Yosef (Syria/Sweden).
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. From the Archives: Keith Haring 2. Friday Night, August 14th – From Funkadelic 3. One Thousand Stories / The Making of a Mural / A Project by JR
BSA Special Feature: From the Archives: Keith Haring
Why are we thinking about street artist Keith Haring so often right now? Possibly because we are remembering how he used his art practice to talk about crisis on his doorstep, and took risks to get his work out, and we are seeing more artists stepping up to that challenge on the street today.
When we think about this pandemic and the ways in which the artistic community has swiftly and forcefully responded to illustrate with their art the general mood, the ethos, the official response from our political leaders, the health providers unequivocal rush to action to save lives, the scientific community pushing to guide us during this still ongoing crisis, the dissemination of information and misinformation on social media, and the decisive actions from the mainstream media to educate the public on the pandemic one New York City artist comes to mind.
Keith Haring. He used his art to talk about Apartheid in South Africa, the crack epidemic, and the scourge of AIDS, a disease that took his life in 1990. We wonder what he will be doing on the streets if he were still alive. He’d be 62 now, still an age where he’d have the creative energy imbued with wisdom and experience. Below we share with you a vintage reel of him getting up on the NYC Subway.
As you watch this video for a mass TV audience under the guise of kooky kuriosity, it also crosses your mind that the police handle him with kid gloves – they don’t tackle him and slam him on the ground. Would his fate have been the same if he were black? And the reporter follows him around like a curious puppy, in awe of his escapades, intoning that vandalism is cute when its done by white guys from Pennsylvania who sell canvasses in Soho. There is so much we can learn from archived footage like this.
So you know what tonight is, right?
One Thousand Stories / The Making of a Mural / A Project by JR
The pronounced disparities and hypocrisies of society are now on display and on parade in our politics, on our multiple screens, in our bank accounts, our hospitals, our music, our schools, our neighborhoods, and in our Street Art — which again proves an apt and reliable reflection of society, despite the fog.
While our politicians and political machines and corporate media and cultural institutions are now being questioned more openly and often for their alliances, their entrenched classism, and exploitation of the rank-and-file, you can see those dynamics reflected in the messages and alliances that are occurring in Street Art as well – and questioned more often as well.
Will a torrent of populism be unleashed? Will our institutions fall or further erode? Who knows. As ever, one must be vigilant to spot the colorful wolf in populist clothes, often right in front of you in black and white.
Here’s our weekly interview with the street featuring Adam Fu, Albertus Joseph, Anthony Lister, Captain Eyeliner, COSBE, CRKSHNK, JR, Poet Was Taken, Praxis, Sara Lynne Leo, Vivid Trash, Will Power, Wing, and WK Interact.
BSA has been here with you for this entire decade – an honor and a privilege. Reviewing the many interventions and events we witnessed and shared with our readers, we realize that this grassroots people’s art movement is reflecting our society in fundamental ways and reaching deep as well as wide. Here in roughly chronological order we recount for you a Top 10 for BSA that have impacted our way of seeing art on the streets.
1.
The “Girl In The Blue Bra” – December 2011
Oppressive regimes worldwide have a few
commonalities. One of them is patriarchy. Over the last decade we have seen
many female artists rise powerfully to smash it, harnessing their rage and
power and taking their voice to the street.
There were countless images that encapsulated the ferocity and the tenacity of the protesters during the Arab Spring uprisings in Cairo, Egypt in December of 2011. One image, in particular, captured the attention of the media and the public. The image is commonly referred to as the “Girl In The Blue Bra”. The image depicts a young woman, whose identity remains anonymous, being beaten and dragged by soldiers as she was taking part in the protests in Tahrir Square in Cairo, against Egypt’s Supreme Council of the Armed Forces. Her face is veiled and her jeans are still on but as she was being dragged by the soldiers her abaya came undone exposing her bare torso and revealing her blue bra as a soldier was about to kick her in her abdomen.
A young woman is being dragged and kicked, exposing her bare torso in the act by the military in Tahiri Square. Cairo, Egypt. December 17, 2011. (Stringer/Reuters/Landov)
While the image exposed the abusive practices and of power of the military in Egypt – it also swiftly sparked ferocious reactions around the globe, particularly with women who subsequently staged their own march in Tahrir Square in Cairo to demand the end of military rule.
Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)
Among the artists who carried the Blue Bra theme to the streets was one artist, Bahia Shehab, whom BSA and its readers helped to get a movie made about Street Artists in the Arab Spring, called Nefertiti’s Daughters, directed by Mark Nicolas. Later we were the first to debut a scene from it at the Nuart Festival in Norway (“#Activism on the Street Now”), and years after that Nuart actually hosted professor Shehab. This is a small world, this Street Art community.
The actions of the young woman, the
violent response of the military, and the overwhelming support of the public,
in general, sparked a new wave of feminism in Egypt and inspired artists to
create and display their artworks on the streets in protest.
Stencil work by Bahia Shebab “No to stripping/Long live a peaceful revolution” (image courtesy of the artist)An unidentified artist in Cairo. (photo from Pinterest)
2.
“Art In The Streets” Opens at LA MOCA – April 2011
Art in the Streets was the first major U.S. museum survey of graffiti and street art, curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, an exhibition tracing the development of graffiti and street art from the 1970s to the global movement it had evolved to. BSA was there to capture and share some of what was happening.
“Yes, Banksy is here. The giant ‘Art in the Streets’ show opening this weekend at the Museum of Contemporary Art in Los Angeles gives a patch of real estate to the international man of mystery who has contributed greatly to the worldwide profile of what is soon to be, maybe already is, a mainstream phenomenon known as street art. A smattering of his pranksterism is an absolute must for any show staking claim to the mantle of comprehensive survey and an excellent way to garner attention. But “Streets” gets its momentum by presenting a multi-torch colorful and explosive people’s history that began way before Banksy was born and likely will continue for a while after.
The show is an audacious multi-platform, colorful endeavor; part history lesson and part theme park bringing about 50 years of graffiti and street art history, it’s influences and influencers, under one roof. Then there is the stuff outside. Engaging and educational, “Art in the Streets” makes sure visitors have the opportunity to learn how certain tributaries lead to this one river of swirling urban goo, mapping connections between cultural movements, communities, and relationships within it. When it does this, the museum system effectively differentiates its value apart from a mere gallery show. “
Banksy’s NYC Residency – “Better Out Than In” – October 2013
An unprecedented city-wide near daily installation of works in New York established a new high-water mark in the flood of Street Art that took many cities in the 2010s. The British Street Artist played to a media capital in such an effective campaign that even the least interested residents became familiar with the elusive prankster.
A Genuine October Surprise for New York Street Art Friends and Foes Alike.
“In a series of communiqués beamed from his website, the global Street Artist Banksy gave graffiti and Street Art followers a near-daily jolt of mystery and mouse clicking that had people looking at every street scene as a possible Banksy by the time it ended. While few can confirm the exact level of involvement the actual artist had in the five boroughs, if any, none will deny that the Banksy brand underwent a major “refresh” this month that again put his name on the lips of those who had begun to forget him and many who had never heard of him.
Thanks to this masterful marketing campaign billed as a month-long ‘residency’ on New York’s streets, many thousands were talking about him daily on the street, on television, radio, social media, in galleries, studios, office cubicles, art parties, and the mayors’ office. By effectively combining the sport of treasure hunting with humor and populism, each new cryptic appearance of something-anything gradually conditioned some grand art doyennes and the plainer mongrels amongst us to drool on command and lift a leg in salute to the curiously still anonymous artist and the team who helped him pull it off.”
The Brooklyn Museum’s Exhibitions with Swoon, Faile, BÄST, Haring, Basquiat, ESPO, JR Expand Knowledge, Appreciation
One cultural institution in New York City and indeed in the United States has been notable throughout the decade for its commitment to organizing exhibitions where graffiti, street art, and the artists whom have shaped it are given recognition for their contribution to the arts. The Brooklyn Museum’s leadership, including former director Arnold L. Lehman, current director Anne Pasternak, and Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives have been channeling resources and focus to the study, promotion, and exhibition of the works of important figures in the contemporary graffiti and Street Art movement. It notable that the museum has in its permanent collection the works of distinguished graffiti and Street Artists dating back to the dawn of the modern scene; something that other important cultural institutions in New York City that are dedicated to the preservation and promotion of modern, contemporary, and American art lack in their collections.
It’s for this reason that we
have selected the Brooklyn Museum as one of the top ten graffiti and street art
movers of the decade. Predated by 2006’s “Graffiti” exhibition the museum has
mounted several important presentations during this decade that have not only
been blockbusters but they have contributed to the cultural enrichment of all
New Yorkers and the expanded discussion of the relevance of these art forms to
established canons. Here are some highlights:
“Keith Haring: 1978-1982, a traveling exhibition first shown in Kunsthalle Wien in Vienna and The Contemporary Arts Center in Cincinnati, introduces a period of his work not often examined, taking you up to the edge of the seemingly sudden international fame he experienced as artist, activist and public figure through the rest of the 1980s.
… At a time when the small-town boy was developing his visual vocabulary as an artist, Haring was also discovering himself as a man in the world and in a city that he found endlessly fascinating and worthy of exploration. Capturing his spirit of hands-on experimentation, the show is almost entirely comprised of works on paper with one collaborative piece on plywood with his contemporary Jean Michel Basquiat, paper collage, video, and documentary photos.”
“Sharon brought me in here and said, ‘What is interesting to you in the building?’ and I really love that because the thing about working on the street is that you are always thinking site-specifically. And so that thinking has to translate into your work in all places. For me, if I make something in a museum I want it to be very site-specific and this is probably one of the most site-specific pieces I’ve ever done,” explains Swoon.
Under the advice and guidance of an engineer, the artist also modified her design process to allow for foundational considerations like truss sections and lift points. “I showed him an initial model and he showed me an engineered system and then I built another model based on the system that he engineered.”
It is probably unusual for a grand museum to be so amenable to the requests of an artist for a site-specific piece that literally inhabits the furthest reaches of space, and Swoon says she recognizes the leeway she received. “You know, they have been really adventurous in letting us create this. We’ve been sort of pushing a lot with the creation of this piece.”
For Matt Atkins, the opportunity to bring an internationally known street artist and neighbor into the museum has been the result of just over two years of planning. ‘It’s been so wonderful working with Swoon to realize her vision for this project. This is the first time we’ve really used the full height of the 72-foot dome, so it’s quite spectacular. I am thrilled to see her boats back in New York and for them to have this new life. The underlying ideas about climate change in the installation also make this project an appropriate tie into the Museum’s focus on activism with our other exhibitions and collections,’ she says.”
“In Basquiat: The Unknown Notebooks, now running at The Brooklyn Museum until August 23rd, the genius of his fragmenting logic is revealed as a direct relationship between his private journals and his prolific and personally published aerosol missives on the streets of Manhattan’s Soho and Lower East Side neighborhoods in the late 1970s and 1980s.
These notebooks were for capturing ideas and concepts, preparing them, transmuting them, revising them, pounding them into refrains. In the same way his text (and glyphic) pieces on the street were not necessarily finished products each time; imparted on the run and often in haste, these unpolished missives didn’t require such preciousness.”
“FAILE may be a religious experience this summer at the Brooklyn Museum, but only one of the hallowed installations is called Temple. The seedier, more dimly lit venue will surely have the larger number of congregants by far, bless their sacred hearts.
Celebrating the duality and appropriation of words, slogans, and images have been the bailiwick of the duo since they first began hitting Brooklyn streets at the turn of the century with their stencils and wheat-pastes on illegal spots and neglected spaces. In FAILE: Savage/Sacred Young Minds, their new attention-commanding/refracting exhibit organized by Sharon Matt Atkins at the Brooklyn Museum, these guys pour it on, compelling you into a complex panoply of possible re-imaginings of meaning that reference pop, pulp, myth, art history, 50s sci-fi, 60s advertising, comics, punk zines, consumer culture and their own pure artistic and branded fiction.”
Stephen Powers: Coney Island Is Still Dreamland (To A Seagull) is one of 3 new exhibits inspired by the historic attractions of Brooklyn’s seaside.
“Graffiti artist-turned-sign painter Stephen Powers is dreaming of Coney Island and he is bringing a colorful collection of found and freshly produced signage that evokes a forgotten era to climb the columns of a Brooklyn Museum gallery.
Given the boisterous parade of brands and logos into museums that is happening as part of the institutional funding and programming mix, it’s fun to see the ninth episodic installation of this traveling ICY SIGNS shop here; its simplicity and guile recalling amusing persuasive techniques from the mid-century American advertising lexicon. Simultaneously, for those who have been lucky enough to sicken themselves on cotton candy and The Wonder Wheel, the new show imparts a rather reassuring and seedy nostalgia for Coney Island, complete with an inexplicable hankering for a thick beef hot dog.”
“A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.
Brooklyn Street Art: JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects? Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby or business owners and workers of local stores. “
Curated by Christian Omodeo, Luca Cinacabilla, and Sean Corcoran. March 2016
BLU buffing his own works in Bologna took the news cycle, his legion of compatriots armed with rollers and bucket paint. But it was the show that he was reacting to that brought thousands to the museum space to discuss the rightful place of Street Art, graffiti, and the relevance of preserving it for posterity.
“The contested Banksy and Co. exhibition contains, among many other works, walls removed from a privately owned abandoned building in Bologna that were painted by BLU. Displaying the walls and his artwork without his consent so angered the painter that he rallied artists and activists to help him snuff out all his remaining murals and paintings in this Northern Italian city last week. (See A BLU Buffer Talks About the Grey Action in Bologna)
The heavily attended Friday night opening of Street Art – Banksy & Co. at Palazzo Pepoli – Museo della Storia di Bologna was curated by Luca Ciancabilla, Christian Omodeo, and Sean Corcoran and features roughly 250 historical and contemporary works spanning about fifty years and highlighting a number of movements within the so-called Urban Art genre. On balance it appears that 90 percent of the works are studio works, paintings, sculpture, videos, original sketches, and ephermera and were probably collected in a more conventional way and the tagged posters, stickers, metal doors, and wall fragments are viewed in the context of the whole scene.”
“Reality TV is usually completely devoid of reality. That isn’t the exact comparison Andreco said on his Facebook page but we thought it was a fitting analogy. Street Art in a museum or gallery can sometimes feel like taxidermy.
Andreco actually said ‘Deciding which wall to paint or not to paint has always been one of our free choices. This operation, to uncork the walls and move them elsewhere, oversteps this freedom.’ Fair enough.
Of course, that is not the primary reason why activists and Street Artists joined in to help BLU paint over the many murals that he completed on Bologna city walls over the last two decades or so. In an English titled press release on the Italian website Wumingfoundation the artist lays out a multi-layered justification for destroying his own murals, many of which have become beloved landmarks around the city and which have helped make him an art star in some circles.”
American conceptual, activist and street artist John Fekner, whose art and his art partner Don Leicht were represented in the exhibition Street Art: Bansky & Co weighs in the controversy by saying:
The bottom line is: what’s done in public-doesn’t remain in public. There’s no protection for artists who trespass. It’s the chance one takes outdoors.
If you create illegal art murals, street rules are always in effect:
You can’t stop a drunk in the middle of the night from pissing on your wall.
You can’t stop a bulldozer from razing your work.
You can’t stop a neighborhood anti-graffiti squad from painting over your work.
You can’t stop a well-dressed thief in a suit, or their hired slug with a chisel from removing your wall work and hauling it off to their laird, garage, museum or art market.
“Under any circumstances, don’t immediately and irrationally react. If your original aspirations were to be an artist- then just do what you were meant to do: be an artist. Don’t double shift and be a night watchman patrolling the streets to try and thwart thieves of your work. Unique temporary outdoor creations engender a public conversation that includes everyone: art lovers and art haters, lowbrow and highbrow, and everyone who interacts with your public work.”
Urban Nation Museum for Urban Contemporary Art Opens in Berlin – September 2017
We had the unique perspective of being two of the foundational curators who made this exhibition happen and made the doors fly open to thousands of visitors, so it only made sense that we covered the opening that brought much promise to the institutional recognition of Street Art, graffiti, and its move into Urban Contemporary.
“This week is Art Week in Berlin, and you just stole Art Week,” said a handsome and intensely opinionated German to us as we leaned on the arm rail of the M.C. Escher-inspired walkway before a Carlos Mare139 sculpture and above the capacity crowd on Saturday night at the Urban Nation Museum of Urban Contemporary Art (UN).
Not sure if that was the exact goal, but we get his larger point; the UN has just made a massive entry into a number of societally and culturally influential minds when it comes to the relevancy of Street Art and graffiti to visual culture and art history. This movement into so-called Contemporary began as early as the 1970s and has overcome and weathered cultural and market ebbs and flows – persisted, if you will – yet somehow institutions have been wary of this work and these artists and unable to fully embrace their importance, you decide why.”
“In a ruling that many graffiti and Street Artists interpret as a validation of their artwork and which may spawn further legal claims by artists in the future, Brooklyn Judge Frederic Block, a United States Federal Judge for the Eastern District of New York, awarded $6.7 million in damages to a group of 21 artists in the high profile case of the former graffiti holy place in Queens called 5 Pointz.
Under the leadership of artist and organizer Jonathan “Meres One” Cohen, also a plaintiff, the award is in response to a suit that cried foul on the overnight destruction of multiple artworks on building walls without consultation or notification of the artists.
Citing provisions of the 1990 Visual Artists Rights Act that grants artists certain “moral” rights, the artists claimed that their artworks on the 5 Pointz compound that was owned by real estate developer Jerry Wykoff were protected and should be afforded certain rights and considerations.
Arts and intellectual property lawyers and judges will now be examining the implications of the ruling and citing it as an example in arguments about art created on walls legally and possibly those created illegally as well. In a city that prides itself as being a birthplace of graffiti and Street Art, many artists and wall owners must ask themselves if there will need to be an additional layer of the agreement before an aerosol can is held aloft.”
The New York Times Publishes DONDI’S Obituary – February 2019
In an unprecedented posthumous publication of an obituary, this year The Times acknowledged something that it had so far failed to do; the contribution of graffiti writers to the cultural and art canons deserves serious recognition. By publishing the iconic image of DONDI taken by Martha Cooper that burned “Subway Art” into the mind’s eye of many generations of graffiti writers, the “paper of record” caught up with one the the scene’s leaders and heroes.
Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)
Donald Joseph White, considered a legend before “street art” became popular, turned New York City’s subways into rolling canvases of color, humor and social commentary.”
Dondi White by Martha Cooper. (photo courtesy of NYT / Martha Cooper)
9.
Martha Cooper: A Picture Story Premieres at TriBeCa. A film by Selina Miles. April 2019
“First things first – Full disclosure; we are featured in the movie and we are close friends with both the subject of the doc and the director and we first suggested to the director that she was the perfect candidate to make a film about Martha Cooper. Now that we have that out of the way here are a number of shots from the premiere and our review of the movie:
Martha: A Picture Story had its world premiere at the Tribeca Film Festival this Thursday to an enthusiastic crowd that included big graffiti, Street Art, international press and film industry names, to see the highly anticipated documentary about the venerable photographer Martha Cooper by the Sydney director Selina Miles.
The electricity was in the air as Director Miles and producer Daniel Joyce along with the just-arrived Australian members of the “Martha” crew looked for their seats in the Village East Cinema. After a brief introduction by Miles, who told the audience that the film had been a great pleasure to make, the curtain went up to reveal the mother of the superstar art twins Os Gemeos on the big screen. She is sitting at her kitchen table in São Paulo remarking how her boys used to draw on everything, including fruit, and how Cooper and Chalfant’s 1984 book “Subway Art” changed their lives forever. With their story as a backbone for the film, the theme of personal transformation is repeated in a hundred large and small ways for the next hour and twenty minutes. “
Street Art and Activism Takes Larger Share of the Cultural Stage
This
decade that is coming to an end has seen its share of natural disasters, human
rights violations, atrocities of large scale against humanity, corruption at
the highest levels, the reversal of hard-fought policies to protect the planet
and keep our air and water clean. We have witnessed with despair the
renaissance of hatred based on people’s nationalities, their skin color, their
religion, their choice of attire, their level of material affluence and their
sexual preferences.
We
have seen progress as well. Women around the world have been freer to speak
their mind against oppression and abuse of power thanks to social movements
that have flourished around the world in big cities and small towns. Our LGBT
brothers and sisters have scored numerous legal battles in their favor thanks
to enlightened lawmakers and judges who have searched deep inside their
intellect to find the right answer to make sure everybody is treated equally.
Likewise, our peers whom we need to advance our cause have taken seriously the
responsibility at the ballot box to make the correct choice with policies that
will bring relief to those who have less than we do.
Art
and artists have often reflected back to us the world we live in, it is for
this reason that we have chosen Street Art and Activism as an important action
in this decade. We have always championed the work of artists who imbued their
art with a strong sense of social urgency. It is with their art that they talk
to us in the hopes to change one mind, one action, one concept, one attitude
towards the goal creating a common good. There are many of them currently
active on the streets. This wouldn’t be the appropriate space to list all of
them but we would like to give you some highlights:
“This past Sunday, February 17 at La Plaza de las Tres Chimeneas (Three Smokestacks Square) in Barcelona an international group of artists participated in the first ‘No Borders Festival.’
NO BORDERS is a grassroots organization that was created to raise awareness about the refugees, to demand their acceptance, and to raise funds through debates, art, and documentaries.
They say they want to raise the uncomfortable questions – which will undoubtedly lead to uncomfortable answers as well. To paraphrase the text on their website:
‘Do we settle for a society that violates its moral and legal obligations to refugees? A refugee is a person who flees – Flees because he is on the losing side. Because he thinks, feels or prays differently than those who point him with their weapons.’
As usual, artists are bringing these matters to the street for the vox populi to debate.”
An Art, Science and Climate Action project by Andreco
“And the statement isn’t hyperbole, according to AIR-Ink, the company that made his ink, which is “the first ink made entirely out of air pollution,” they explain on their website.
The unique art-making material is part of the Italian Street Artist / Activist’s most recent installment of his Climate Art Project, which he orchestrated on the streets here in New Delhi for the St+Art Festival this year. Part of a global, multi-city installation and demonstration, ‘Climate 05 – Reclaiming Air and Water’.”
Andreco. Climate Art Project. In collaboration with St+ART India Foundation. Delhi, India. March 2019. (photo Akshat Nauriyal)
” ‘Actions Speak Louder Than Ass Ads,’ says a new stencil-style printed poster by New York’s epic, if sometimes cryptic, street commentator of four decades, John Fekner. Anyway, who will argue with that?
“Post-posters is a cooperative proposition about
public billposting,” says French conceptual street anarchist
Matthew Tremblin about his new project with hit-and-run situationist street
posterer Antonio Gallego. Together they reclaim space
with individually produced posters and they invite artists from around the
world to do the same.
Over a two month period the creative place-makers are facilitating an international crew of artists to post posters on the occasion of the double exhibition by Banlieue-Banlieue group* (°1982, Poissy) taking place in Strasbourg, at both AEDAEN and the Syndicat Potentiel. “
John Fekner . Carole Douillard. Post-Posters Project. Strasbourg, France. April 2019. (photo courtesy of Syndicat Potentiel)
“By putting these images of people of color, women, LGBTQ+ folks on the street with their blunt-force sentiments addressed to would-be harassers, she not only stands with them, but Tatyana has also used her work and vision to give them the courage to stand proud, assert their voice and to take public space.
After all, it belongs to the public.
“Women are not outside for your entertainment”, a startling
truth for some guys that pointedly highlights abusive behavior toward women on
the streets of Brooklyn and many cities around the world. Brooklyn Street
Artist Tatyana Fazlalizadeh has been targeting daily oppressive experiences of
marginalized people with her campaigns of art on the streets – and in the
gallery.
Addressing themes of social justice, racism, LGBTQ+ rights, and sexist street harassment, her beautifully drawn campaigns on wheat-pasted posters and painted murals across the globe have brought attention to issues sorely in need of addressing during hostile rhetoric from some men in the highest offices.”
“This spill and these events did not happen in San Diego or Palm Beach. The story doesn’t affect wealthy white families and cannot be used to sell shampoo or real estate. That’s probably why we don’t see it in the press and never on the talking-head news. Street Artist Jetsonorama is not only a photographer who has been wheat-pasting his stunning images of people and nature on desert buildings for over a decade, he is also a doctor on the Navajo reservation, a human-rights activist, and an erudite scholar of American history as it pertains to the poisoning of this land and these people. Today we’re pleased to bring you this long-form examination from Jetsonorama’s perspective on a complicated and tragic US story of environmental poisoning and blight that affects generations of native peoples, miners, military personnel, and everyday people – and has no end in sight.
Most alarming is the news the current White House administration is endeavoring to mine uranium here again.
‘Private companies hired thousands of Navajo men to work the uranium mines and disregarded recommendations to protect miners and mill workers. In 1950 the U.S. Public Health Service began a human testing experiment on Navajo miners without their informed consent during the federal government’s study of the long-term health effects from radiation poisoning. This study followed the same violation of human rights protocol as the US Public Health Service study on the long-term effects of syphilis on humans by experimenting on non-consenting African American men in what is known as the Tuskegee Syphilis Experiment from 1932 – 1972.’ ~ Jetsonorama”
“As part of our core commitment as a non-commercial platform that has helped hundreds of artists over the last decade+, BSA significantly helped Escif to raise money for his Indiegogo fundraiser in Spring 2017 when we promoted his “Breath-Time” horticultural project heavily as he planted trees to reforest Mount Olivella in Southern Italy.
Today BSA debuts REWILD, a new
tree-related project by the Spanish Street Artists – just as the Global Climate
March is spreading to cities around the world, including New York.
The concept of the short film is
simple: can’t we just push the “Rewind” button?
‘The narrative runs in reverse, rewinding the clock on deforestation to undo the damage caused by the unsustainable production of one of the world’s most versatile commodities. Beyond the industrialisation of the land, we end at the beginning, a thriving ecosystem alive with wildlife. The concept mirrors the real world action of the Sumatran Orangutan Society and their partners in reclaiming land on the borders of the Leuser rainforests to rewild them with indigenous trees, expanding the boundaries of one of the most biodiverse places on earth.’
Finally, a stunning custom soundtrack by Indonesian composer Nursalim
Yadi Anugerah captures and carries this into another world, which is
possible.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “Graffiti Rock” Hip Hop TV 2. JR and the “Tehachapi Project” 3. PICHIAVO – Esplugues de Llobregat 4. Walala Pump & Go in Arkansas
BSA Special Feature: “Graffiti Rock” Hip Hop TV
The
year was 1984. “Subway Art” was fresh on the bookshelves and “Style Wars” had
just been aired on PBS and won the Grand Jury Prize at Sundance, and “Wild
Style” had shown in sticky Times Square. With ascendant music stars like
Grandmaster Flash and The Cold Crush Brothers rocking mics at the clubs,
Blondie bringing Basquiat and Fab Five Freddy to MTV and Rock Steady Crew
commanding all the competition, MCing, turntablism, graffiti and b-boying were
making serious inroads into popular culture across the US and into Europe.
Enter showman and empresario Michael Hollman with a fresh idea for Hip-Hop TV that would inherit the mantle from teen dance shows of previous decades. Highly produced and rehearsed, the spontaneous looking show featured all the elements you could dream of; fly fashion, phat laces, Adidas, Kangol, a scratching lesson, Jam Master J and Run DMC battling with Special K and Cool Moe D, New York City Breakers, graffiti artist “Brim” Fuentes with the smooth disco song stylings of Shannon.
“Graffiti Rock” held everything in its hands in that moment in June when it aired, and even though the show couldn’t continue, it’s a shining beacon of triumph, empowerment and promise for the positive scene that had evolved around youth in cities like New York that gave it agency. A primer on a scene, it was so dense that you could think of this as skool, fool.
https://www.youtube.com/watch?v=mXhFHJGTNE4
JR and the “Tehachapi Project” (Trailer)
No mention of the feckless politicians paid on the side by for-profit
prisons to trample justice and capture bodies for beds, but here JR ventures
inside prisons to talk about humans caught inside a system of prisons that few
in the media even bother with anymore.
PICHIAVO – Esplugues de Llobregat / Video by Marta Romero
Great attitudes, European idealized classical images of women, colorful graffiti tags layered and dancing around and above your head; It’s a winning combination for Street Art duo Pichiavo, who have been on a tear around the world painting ever larger commercial walls for the last five years wherever you look. Here are two recent videos created by one of their more recent clients, a real estate investment and development company headquartered in Madrid and Lisbon.
PICHIAVO en Temprano Esplugues – Video by Marta Romero
Walala Pump & Go in Arkansas
The creative agency Justkids produced a new project in Fort Smith, Arkansas this month by rehabilitating a bit of urban blight with “eclectic tribal pop” from French artist Camille Walala. The best part? When you paint this gas station with vibrant geometry you can name it after yourself. Just call it “Walala Pump and Go”.
Here’s our weekly interview with the street, this time featuring Ali Six, Anthony Lister, Chris Stain, Cogitaro, Gixy Gal, Hans Haacke, I Heart Graffiti, Jimmy C, JR, Laszlo, Lizzo, Pay to Pray, Rano, and X Vandals.
A retrospective at Brooklyn Museum currently showcases the photographic works and public projects envisioned and created by French Street Artist JR. Covering roughly two decades of work, JR: Chronicles dedicates an in-depth examination into his practices and personal philosophies when creating – as evidenced by this collection of his murals, photographs, videos, films, dioramas, and archival materials.
His most recent and one of his most original ideas has been to use the techniques of professional film compositing to impart a permanent, living aura for what may otherwise be static collaged works. With high res digital works working in concert, the life of the subject takes on an additional dimension, juxtaposed as it is with other figures they may or may not have ever interacted with.
Often in these recent projects you have the opportunity to see and/or hear personal recordings of the person through interviews for the piece. The centerpiece and partial namesake of this show is the new large-scale mural of more than one thousand New Yorkers whom he chose to feature, accompanied by audio recordings of each person’s story as told to him and his team.
Many of these concepts and philosophical observations, including sociopolitical commentary on a number of hot-button issues of the day, may feel familiar to fans and Street Artists around the world – particularly over the last decade and a half. Here you can see that with the number of resources and teams that he can amass, JR is able to create the ideas with a sense of largesse and garner greater audiences, putting many of his works before many more.
Epic is a word often used to describe the projects, and when you see the JR: Chronicles exhibition you can understand why.
We spoke with the curators of the exhibition Sharon Matt Atkins and Drew
Sawyer about their experience with this exhibition and how JR is defining new
areas of photography with his use of it in public space.
Brooklyn Street Art:JR created a new digital collage for this exhibition featuring a thousand or so people individually interviewed and photographed. Can you tell us about what criterion he used for selecting his subjects? Sharon Matt Atkins: JR’s main focus was on capturing the rich diversity of New York City. As such, he photographed people in all five boroughs of the city, including many neighborhoods that were new to him. While he did invite some guests to participate, most of the people were passersby, or business owners and workers of local stores.
Brooklyn Street Art:It may be that there has been a return to
black and white photography in
the last decade – so much so that one may not register the significance
that JR employs it for expression almost exclusively. How do you think
the limited palette aids his work in telling his narratives? Drew Sawyer: In
many ways, JR’s use of black and white photographs is in direct
opposition to contemporary photojournalism and the digital circulation
is images. His close-up portraits may recall the work of earlier
documentarians, such as Gordon Parks and Dorothea Lange in the United
States, but JR’s decision to print them on inexpensive paper and paste
them nearby counters they ways in which images often circulate in the
global media far away from the places where his collaborators live. Also,
the monochromatic images certainly stand out against the colorful built
environments in which JR typically installs them.
Brooklyn Street Art:As you deeply analyzed his career and its
various phases, what would you
say is one of the through-lines that you see in his practice as it
evolved? Sharon Matt Atkins:
Our show is centered on his projects that have been created in
collaboration with communities. From his earliest photographs
documenting his graffiti writer friends to Inside Out with more
than 400,000 participants in 141 countries to his most recent mural The
Chronicles of New York City, JR has sought to give visibility to those
often underrepresented or misrepresented.
Brooklyn Street Art: How has JR used his work in a new way that may prove to be inspiring to photographers and fans of photography? Drew Sawyer: For JR, photography is just one part of his collaborative process. His work is really about bringing people together, lifting the voices of others who rarely have control over their own representation, countering narratives in the global media, and shifting the discourse around specific issues and events. He started his practice before there were social media apps like Instagram, which now provide platforms for many people to do the same in a digital form. Since then, JR has explored how new technologies can help him tell and share more stories. I hope his process inspires other artists to use photography in similar and new ways.
“Since 2017 JR has been creating participatory murals inspired by the work of the Mexican painter Diego Rivera in the first half of the twentieth century. In the summer of 2018, JR and his team spent a month roaming all five boroughs of New York City, parking their 53- foot-long trailer truck in numerous locations and taking photographs of passersby who wished to participate. Each was photographed in front of a green screen, and then the images were collaged into a New York City setting featuring architectural landmarks. More than a thousand people were photographed for the resulting mural, The Chronicles of New York City. The participants chose how they personally wanted to be represented and were asked to share their stories, which are now available on a free mobile app.”
“In January 2009 JR carried out another iteration of Women Are Heroes in Kibera, Kenya, one of the largest slums in Africa. Following close dialogue with the community, JR covered rooftops with water-resistant vinyl printed with photographs of the eyes and faces of local women. The images both transformed the landscape and provided protection from the rain.
The train that ran along the Kibera line was also covered with photographs of the eyes of women who lived directly below, and images of the lower halves of their faces were pasted on the slope beneath the tracks so that as the train passed, their faces were completed for a few seconds. The idea was to celebrate, or at the very least to acknowledge their presence. Of his projects, JR has said, ‘I search with my art to install the work in improbable places, to create with the communities projects that promote questioning. . . and to offer alternative images to those of the global media.’ ”
“On October 8, 2017, for the last day of the Kikito installation at the U.S.-Mexico border, JR organized a gigantic picnic on both sides of the wall. Kikito, his family, and dozens of guests came from the United States and Mexico to share a meal. People at both sides of the border gathered around the eyes of Mayra, a ‘Dreamer,’ eating the same food, sharing the same water, and enjoying the same live music (with half the band’s musicians playing on either side). “
JR: Chronicles is curated by Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives, and Drew Sawyer, Phillip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum. This exhibition is now open to the public. Click HERE for dates, times and directions.
Image Description A (see earlier in article) “As the first photograph in what would become JR’s Portrait of a Generation, this image launched his career. The series was initiated when Ladj Ly, a filmmaker, and resident of Cité des Bosquets (called “Les Bosquets”), a public housing complex in the Parisian suburb of Montfermeil, invited JR to collaborate on a project in the neighborhood.
JR said of the image: ‘I took this picture when I was eighteen. It was the first time I went to Les Bosquets. If you look carefully in the back, you can see small posters from Expo 2 Rue—and I wrote ‘Expo D Boske.’ The kids asked me if I could take a picture of them. This photo of Ladj Ly filming me was the first one on the roll of film, and I felt something special had happened. This image is very emblematic of my work and of the message of this project with Ladj.’
This photograph was also the first large-scale image that JR and his friends wheat-pasted in the neighborhood prior to the riots there in 2005. It appeared as the backdrop in photographs accompanying newspaper articles and television footage about the uprising, thereby becoming JR’s first published work. “
– text courtesy Brooklyn Museum
Image Description B (see earlier in article) “In 2013 JR learned that the housing towers in Les Bosquets were going to be demolished, so he revisited the Portrait of a Generation project. Using images from the original series, he and a team pasted portraits in the building before it was destroyed. He recalled, ‘We couldn’t get authorization to paste inside. So we got plans from the former inhabitants, and we entered at night, twenty-five of us, and spread out over all the different floors. We pasted eyes in someone’s kitchen, a nose in someone else’s bathroom, and a mouth in a living room. . . . When we came down, the police arrested us, but they couldn’t understand why we had just spent hours in this building that was about to be destroyed. The pastings were so big that they couldn’t see what they were. The next day, when workers started the demolition, the portraits were revealed, little by little, while the cranes were ‘eating’ the building. Only the people who were in the neighborhood that day witnessed the gigantic spectacle unfold.’ “
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. Migrants, Mayra 2. Women are Heroes (Kibera) 3. Chronicles, Portrait of a Generation 4. Giants (Kikito) 5. The Guns Chronicles, A History
BSA Special Feature: JR Explains “Chronicles” at Brooklyn Museum
JR: Chronicles. This Friday’s edition of BSA Film Friday is dedicated to French Artist JR as we feature a series of brief videos he filmed on the occasion of his retrospective now on view at the Brooklyn Museum.
Now that we think of it, all of these topics are directly and indirectly addressed through our Street Art as well.
Hope you are out strolling today in your neighborhood looking for Street Aart, in a park looking at the leaves on the trees, or outside the city in an apple orchard or pumpkin patch. Do anything you can to strike a sense of balance – we all need it!
Here’s our weekly interview with the street, this time featuring Alex Face, Buff Monster, Chapter 23, Dan Kitcher, Elyaz, The Pansy Project, Inside Out Project, JR, Michel Velt, N.Dergund, Mishka, Little Ricky, Nass, Rubin415, Shiro, Tar Box, and Winslow World.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. “REWILD” from Escif 2. Guido van Helten in Faulkton, South Dakota by Brian Siskind 3. How Artist JR Is Helping Connect Our Humanity Through Street Art
BSA Special Feature: “REWILD” from Escif
As part of our core commitment as a non-commercial platform that has helped hundreds of artists over the last decade+, BSA significantly helped Escif to raise money for his Indiegogo fundraiser in Spring 2017 when we promoted his “Breath-Time” horticultural project heavily as he planted trees to reforest Mount Olivella in Southern Italy.
Today BSA debuts REWILD, a new
tree-related project by the Spanish Street Artists – just as the Global Climate
March is spreading to cities around the world, including New York.
The concept of the short film is
simple: can’t we just push the “Rewind” button?
“The narrative runs in reverse, rewinding the clock on deforestation to undo the damage caused by the unsustainable production of one of the worlds most versatile commodities. Beyond the industrialisation of the land, we end at the beginning, a thriving eco system alive with wildlife. The concept mirrors the real world action of the Sumatran Orangutan Society and their partners in reclaiming land on the borders of the Leuser rainforests to rewild them with indigenous trees, expanding the boundaries of one of the most biodiverse places on earth.”
Finally, a stunning custom soundtrack by Indonesian composer Nursalim Yadi Anugerah captures and carries this into another world, which is possible.
Guido van Helten in Faulkton, South Dakota by Brian Siskind
A massive piece by the observant eye of Guido van Helten, who knows how to capture a spirit, a gesture, a knowing expression. Here on a grain elevator in Faulkton, South Dakota, his piece becomes a clarion, captured here by Brian Siskind.
How Artist JR Is Helping Connect Our Humanity Through Street Art |
The Brooklyn Museum will be unveiling an exhibition with the works of French Street Artist JR this October. Here’s a small video of him explaining how his work is a connector between humans.
The Brooklyn Museum Announces the First Major North American Exhibition of Works by French Street Artist JR
Brooklyn Falls for France this autumn as photographer and Street Artist JR comes to the Brooklyn Museum as part of a cultural season organized by the Cultural Services of the French Embassy and FACE Foundation. In a cultural exchange of sorts, BSA is also going to be in Bayonne, France October as part of Points de Vue.
The Chronicles of New York City, a massive new work from JR promises to be one of his most iconic projects as the Brooklyn Museum debuts the first major North American exhibition of works by the French artist. The new mural will cover 20,000 square feet of the Museum’s Great Hall, featuring more than 1,000 people photographed and interviewed in New York last summer.
Many Street Art fans will be familiar with a number of the artist’s iconic Street Art/photography works that feature every day and specially chosen people from the neighborhood in which they are plastered; from his early photographic projects in Paris like Expo 2 Rue (2001-4) featuring graffiti artists, Portrait of a Generation (2004-6) featuring young people from Les Bosquetsin the Parisian suburbs, to Women Are Heroes (2008-9, Inside Out (2011-ongoing The Wrinkles of the City (2008-15, and newer projects like and The Gun Chronicles: A Story of America (2018). Many New Yorkers will also remember Portrait of a Generation. Face 2 Face (2007) – which featured images of Israelis and Palestinians pasted on both sides of the separation wall
Curated by Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives, and Drew Sawyer, a curator of photography, the show is unprecedented in representing the scale and reach of the artist and promises to be a highlight in a city known for grand gestures. Today we feature a number of images taken by photographer Jaime Rojo of JR’s work on the street over the years.
JR: Chronicles will be on view at The Brooklyn Museum from October 4, 2019, through May 3, 2020.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening : 1. David Shillinglaw: Alive In The Human Hive 2. Flavita Banana in Barcelona for 12+1 Project 3. JR at the Louvre 4. A NYC Subway Train in Queretaro, Mexico
BSA Special Feature: David Shillinglaw: Alive In The Human Hive
“The artworks I make are an absurd visual taxonomy listed in no particular order the ingredients that we all consume and produce,” explains the British painter and Street Artist David Shillinglaw. Clearly, he’ll have enough to paint until his dying day, as we cannot stop producing.
Another
gem here: “We are funky little space monkeys orbiting a ball of hot gas”
David Shillinglaw: Alive In The Human Hive
Flavita Banana in Barcelona for 12+1 Project
“With a nod to La Danse by Henri Matisseand many human tribes’ rites of Spring, artist Falvita Banana creates her new “Juntes sumem” (add together) here on the façade of Cotxeres Borrell in Barcelona,” we wrote a few weeks ago when she first finished her mural. Today we have video of the event. See the original article here: Flavita Banana & Women in a Springtime Dance
JR at the Louvre
This time-lapse movie shows the installation of street artist JR’s paper trompe l’oeil at the Louvre Pyramid in Paris, France.
“On the occasion of the 30th anniversary of the Louvre Pyramid, JR
created a collaborative piece of art on the scale of the Napoleon Court.
Three years after having made the Pyramid disappear, the artist brought
a new light to the famed monument by realizing a gigantic collage,
thanks to the help of 400 volunteers !
Each day hundreds of volunteers came to help cut and paste the 2000 strips of paper, making it the biggest pasting ever done by the artist.”
A NYC Subway Train in Queretaro, Mexico
When local graff writers in Queretaro, Mexico heard that New York’s famous photographer Martha Cooper was going to be in their town for a new exhibition they decided to welcome her in the best way they knew how: A graffiti jam on a train.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
