All posts tagged: LNY

New Mural for ConectArte & United Nations World Food Programme in San Salvador

December 4, 2017 Artists

At its core, the community mural performs a very important role in unifying a neighborhood by focusing attention and coalescing around a common sentiment. Whether social, political, or poetic, they give a public voice to memories, aspirations, philosophies, agendas.

Collaborative mural in San Salvador with Layqa Nuna Yawar, Mata Ruda, Rafael Osorio, Lolipop, Cristian Lopez and Issac Martinez. ConectArte / United Nation’s World Food Program. (photo © Courtesy of ConectArte)

By highlighting the dominant sentiments about a particular event or topic, community murals in cities and towns also serve as a physical location where people meet in the public context to discuss weighty matters, to share stories, to pass on history, to trade gossip, to organize, to celebrate or mourn individually and collectively.

The United Nation’s World Food Programme worked again this year with a number of Street Artists in San Salvador to create a mural that scrutinizes the nature of a people’s history and the fundamentals of its social, political, economic strengths.

Collaborative mural in San Salvador with Layqa Nuna Yawar, Mata Ruda, Rafael Osorio, Lolipop, Cristian Lopez and Issac Martinez. ConectArte / United Nation’s World Food Program. (photo © Courtesy of ConectArte)

“The mural itself speaks of the market as a place to exchange goods and that creates community and has done so since El Salvador was a country, when it’s people already cultivated the grains and vegetables that continue to be sold at this market today,” says New Jersey based Street Artist and muralist Layqa Nuna Yawar, originally from Ecuador. He painted side by side his homeboy Mata Ruda along with history student Rafael Osorio and local artists Lolipop, Cristian Lopez and Issac Martinez for this mural on the facade of Mercado Cuscatlan, a public market and Library complex.

“The murals also show us traditional culture, dresses, games, poets, geography and flora and fauna that all have local meaning and importance to the people of San Salvador,” LNY says. “The mural on the library side speaks of knowing your history in order to grow and move forward to a better future. It does so by depicting a young woman, one of the local artist’s family members, reading a book on history. In this book the same girl is depicted in traditional colonial garb reading a book on national history, meanwhile her mind is filled with imagery of the cosmos.”

Collaborative mural in San Salvador with Layqa Nuna Yawar, Mata Ruda, Rafael Osorio, Lolipop, Cristian Lopez and Issac Martinez. ConectArte / United Nation’s World Food Program. (photo © Courtesy of ConectArte)

Part of the ConectArte program in cooperation with San Salvador mayor’s office and the United Nation’s World food program, Layqa Nuna Yawar and Street Artist/organizer Jamie Toll say that the collective process that goes into a community mural is necessary to produce a collective narrative. They say they wanted the artists to function as amplifiers for the ideas as well as the aesthetics.

“We spent time developing the design for the mural collectively without having this be a single authored project but a product of actual exchange and conversation with proper credit going to those involved,” says Layqa Nuna Yawar. “This exchange continues as our relationships with these artists grow beyond the project itself.”

Collaborative mural in San Salvador with Layqa Nuna Yawar, Mata Ruda, Rafael Osorio, Lolipop, Cristian Lopez and Issac Martinez. ConectArte / United Nation’s World Food Program. (photo © Courtesy of ConectArte)

The Audubon Birds Of Broadway

January 14, 2017 Artists

Birds flyin’ high, you know how I feel
Sun in the sky, you know how I feel
Breeze driftin’ on by, you know how I feel
It’s a new dawn, it’s a new day, it’s a new life for me.

~ Nina Simone

ATM. Williamson’s Sapsucker for The Audubon Mural Project. (photo © Jaime Rojo)

192 species of birds are seen in Central Park regularly, says the NYC Audubon Society, thanks to “New York City’s position along the Atlantic ‘flyway,’ a major avian migration route, and its variety of habitat types, the metropolitan area is rich in bird diversity,” says the Museum of Natural History.

ATM. Red-face Warbler for The Audubon Mural Project. (photo © Jaime Rojo)

Since 2014 the streets of New York have also become home to many painted birds as well. In the Upper West Side neighborhood in Manhattan where founder and artist John James Audubon lived in the 1840s after publishing his major work, a color-plate book entitled The Birds of America (1827–1839), there is a growing series of paintings on roll down gates by Street Artists, graffiti artists, studio artists, and muralists depicting bird species that are in danger thanks climate change and to us humans.

ATM. Townsend’s Warbler for The Audubon Mural Project. (photo © Jaime Rojo)

The Audubon Mural Project combines the efforts of art gallerist Avi Gitler of Gitler &_____ Gallery and The Audubon Society and 50+ artists over the last 2 years or so and gradually this area is becoming a bird sanctuary. The birds are painted mostly along Broadway but many more painted birds can be found from 135th Street to 165th Street on the Upper West Side. Many of the birds are painted on gates so when the shops are open, the gates are up and bird sighting is off…so go early in the morning or when the shops close.

Mary Lacy. Pinyon Jay for The Audubon Mural Project. (photo © Jaime Rojo)

Hitnes. Fish Crow for The Audubon Mural Project. (photo © Jaime Rojo)

LNY. Swallow-tailed Kite (and others) for The Audubon Mural Project. (photo © Jaime Rojo)

James Alicea. American Redstart for The Audubon Mural Project. (photo © Jaime Rojo)

To learn more about The Audubon Mural Project click HERE

Here is a recent story from PBS about the project. Unfortunately, many artists names are not mentioned in the story, a typical unfortunate oversight by the press for artists whose work is on the streets and not inside galleries or museums. Nonetheless, the story gives valuable information and context.

The artist ATM in profile for his new installations just completed this autumn.

San Salvador, Street Artists, Food Insecurity and “Conect-Arte”

May 18, 2016 Artists, Interview

Six street artists took their social engagement a step further in El Salvador last month and taught youth some serious skillz from the street.

Coming from Brazil, Australia, Ecuador, Mexico, New York, and New Jersey, this international crew took the time to share and teach about painting, art, and how community can be built. The program Conect-Arte is a newly launched initiative by the United Nations World Food Programme, which as the name suggests, also is in the city to address a more core need to battle food insecurity. With Conect-Arte the goal is to also meet youth in some communities and help with positive role models an options with an eye on transforming lives through developing art and related creative skills that can provide income and channel energy in ways productive to community.

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Vexta. Process shot. Conect-Arte. San Salvador. April 2016. (photo © Jamie Toll)

Together the artists worked on projects with 45 teens and younger kids over the course of the a week-long workshop in San Salvador, teaching street art techniques like stencil, lettering, mural painting, sculpture, even hot air balloon making. The goals are huge, like reducing violence, food insecurity, increasing access to economic opportunity. The tools here are art, the creative spirit, and strengthening relationships.

We bring you some images of the works that were made by the visiting artists and some of their observations and experiences during the Conect-Arte program.

Vexta. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

For her large mural project, Street Artist Vexta referenced the national bird, the Talapo, but creating two together in “Todos Estamos Conectados”. She says it is a reflection mural of this now endangered species at the entrance of a nascent community center called Teatro Camara Roque Dalton. During her installation she worked with three students and they experimented with abstract painting techniques, washes, spray paint, stencils and colour theory.

Brooklyn Street Art: How can a project like this help people feel connected to their city and their neighbors?
Vexta: This is a great question. In San Salvador there are very physical divisions that are highly visible – tall concrete fences topped with razor wire and the favela type neighborhoods which are often gang controlled territories. So people are really disconnected.

Conect-Arte enabled two groups of young people to come together from two distinct neighborhood areas – The Historic Centre and San Jacinto. The young people in the workshops got to connect with other young people that they wouldn’t have met otherwise, new friends were made and skills shared. This was super beautiful to see.

Vexta.Workshop. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

Its really hard for young people in San Salvador who live in poorer neighborhoods to move about the city. The threat of gang and police violence is very real. My group in particular made plans to stay in touch, to make more art together and start break-dancing together.

Whilst I was painting at Roque Dalton I had quite a few local people come to thank me for creating something beautiful in their neighborhood, and especially within the historic centre which is an area that is quite neglected, rundown and old. I think art in the streets can provide people with something they can feel proud of, a focal point or new memory site that is not an advertisement billboard or an architectural symbol – which is how we usually navigate modern cities.

Vexta.Workshop. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

This time they can say “I live near the twin birds that were painted for me” instead of “I live by the Mister Donut.” I hope my piece can bring a sense of the joy for life in a place struggling to remember what the value of life is. To me when you are seeing people approach the building to spend time taking photos of themselves and their friends and family, actively engaging with the art, is proof of a very real connection occurring between people and their city.

Vexta.Workshop. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

Vexta. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

LNY (Lunar New Year) says that he and students created a work based upon a poem by Javier Zamora entitled “Instrucciones Para Mi Entierro” (Instructions For My Funeral)

Brooklyn Street Art: Is it difficult to try to represent poetry visually?
LNY: It could be difficult yes but to me it became a matter of reacting to the poetry as opposed to try to represent it literally – which is the same way that I approach making context-sensitive art or murals. The poem was a starting point for our conversation and it helped inspire ideas, images, a mood and an internal narrative for the mural. We reacted to the poem the way dancing is a reaction to music, but we were not bound by a literal representation of the poem.

LNY. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

Brooklyn Street Art: An average person can encounter a mural or a poem and, without context, have an interpretation that is very different from what the author intended. Do you ever feel like you want to leave an explanation near your artwork so a passerby can understand it better?
LNY: Art has the power and range of a self contained language, one that works just like a written one but benefits from not being attached to a particular official language, nation or culture. See, I find myself traveling to lands where I do not speak the local language, be it literally or the proper vernacular, but by making art I get to bridge that gap and communicate regardless – the universal language of art allows me to communicate beyond English or Spanish or what have you.

So that’s one thing, art can fully explain itself as a visual language. Then you have the problem of interpretation which I, as an artist, will never fully control so let’s not go there. Lastly, and what I think becomes really interesting, is the idea of audience as far as an explanation would go.

My answer was to somehow take an interpretation of a poem and turn it into something new and visual that you can now read as a mural, as its own thing, as an experience with its own language – as a new and self contained visual poem.

LNY. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

LNY. Detail. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

LNY. Workshop. Conect-Arte. San Salvador. April 2016. (photo © Lenny Correa)

In descriptions of the project the subject of safety in San Salvador comes up frequently, with stories of youth and families restricted to safe zones behind walls, fences, barbed wire for fear of violence from gangs and heavy handed authorities. Mexican Street Artist Paola Delfin created her piece entitled Tu eres yo¨/ ¨You are me” in one of these protected neighborhoods.

She says in the group’s press release ” This wall is inspired by many factors, after finding out a bit about the area where the wall is situated – A neighborhood consider safe in San Salvador. El Salvador is a country that a lot of people think of as a really wild place, but you can also find so many pretty things and beautiful people, this wall for example is the facade of ¨La Casa Tomada¨ a really inspiring place where many young people get together to create and learn from each other about art, music, media and many things.”

Paola Delfin. Process shot. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

Brooklyn Street Art: Does San Salvador have a particular personality on the street? How does an artist effectively speak to that audience on the street with their work?
Paola Delfin: Unfortunately I didn’t have much time to check out a lot of places around San Salvador, but I felt really related to it. I felt it looks pretty similar to Mexico, and I think the contrasts you can find there are pretty similar as well.

I think not only the Salvadorian audience but a lot of people from nearby countries (even my own) expect to communicate their thoughts and concerns about a lot of situations that are happening. I guess that we as artists have to find the way to share their thoughts and try to focus on the impact that our own thoughts could have on the people who see our work.

Paola Delfin. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

Street Artist Mr Toll created a number food related sculptural pieces in reference to the food scarcity issue in his work with the youth. Twisting the name of his project, he literally was making “Street Food” (Comida Callejera). He is quoted in the group’s press release saying,

“One of the major concerns in San Salvador is Food Security. This inspired my workshop and subsequent Street Sculpture collaborations with the students. During the workshops we focused on the healthy everyday foods the youth come in contact with, we discussed different issues while preparing the sculptures and then brought them together on the street as food face collages,” obviously injecting a brand of comedy that the kids could appreciate.

Mr. Toll. Conect-Arte. San Salvador. April 2016. (photo © Jamie Toll)

“The opportunity of working directly on the street as a group gave the youth the freedom to play, experiment and feel safe in a public domain which generally they don’t have access too,” he says. “They face many restrictions due to gang activity and a heavy handed police presence in San Salvador. It was important for me to help to bring a little fun and humor in a creative way to their lives in a city faced with many difficulties.”

Mr. Toll. Conect-Arte. San Salvador. April 2016. (photo © Jamie Toll)

Mr. Toll. Workshop. Conect-Arte. San Salvador. April 2016. (photo © Jamie Toll)

Adapted from the original Chinese hot air balloons, artesian balloons have had many cultures artistic influences in the last century. Brazilian Street Artist Claudio Ethos and members of the Sao Paulo based graffiti crew called 14 B.I.S crew (Sao Paulo) had a workshop promoting the art form by teaching how to make them. Called locally by the name of Globos, the project involved elements of mathematics, physics and geometry as well as a very necessary requirement of collaboration.

ETHOS. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

Globo Lokos was the project name and working together with the youth was especially rewarding because of the airborne result of their collaborative efforts. “The focus,” says Ethos, “was start to finish object making, where the young people had the opportunity to show their city, where they live, that they can make art and be artists. We helped the youth to make the balloons drawn with art to send their prays and wishes to the sky, Then they launched their works of art into the sky, which is a very powerful action,” according to the press release.

ETHOS. Conect-Arte. San Salvador. April 2016. (photo © Yvette Vexta)

ETHOS. Conect-Arte. San Salvador. April 2016. (photo © WFP USA Charles Fromm)

Group shot at Casa Tomada. Conect-Arte. San Salvador. April 2016. (photo © Jamie Toll)

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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

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

December 16, 2015 Artists

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.

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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This article is also published on The Huffington Post

50 Years From Selma, Jetsonorama and Equality in Brooklyn

June 27, 2015 Artists, Interview

From Selma to Ferguson, Birmingham to Charleston, Jimmie Lee Jackson to Michael Brown, Street Artist Jetsonorama is crossing the country from Arizona to New York and a half-century of America’s struggle with our legacy of racism and injustice.

As marches have continued across the country in cities like Ferguson, Oakland, Baltimore, New York, Dallas and Cleveland in the past year addressing issues such as police brutality and racism, the south is taking down confederate flags on state houses and the US is mourning another mass shooting.

Now as Americans everywhere are pulling out and waving the stars and stripes to celebrate freedom, this new powerful installation on a Brooklyn wall reminds us of what New York poet Emma Lazarus said, “Until we are all free, we are none of us free.”

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Freedom and equality were the goals of those three marches from Selma to Montgomery, pivotal to the passage of the Voting Rights Act signed into law on August 6 1965, a turning point in outlawing discriminatory voting practices. But our legacy of racism cannot be easily legislated out of our hearts or institutions, nor extracted from our systems.

In preparation for this new public piece, Chip Thomas AKA Jetsonorama told us about his take on the undeniable similarities of the state of the struggle then and today.

“A quote by James Baldwin comes to mind,” he says, ” ‘…To be a Negro in this country and to be relatively conscious is to be in a rage almost all the time.’ Though the times have changed, issues such as institutionalized racism as evidenced by discriminatory law enforcement practices, poverty, high unemployment rates, challenges to voting rights have not. The struggle for respect and equality continues.”

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

The original photograph by Dan Budnik that he replicates across the wall comes directly from those marches to freedom fifty years ago. “Frederick Moss, a 54-mile core group marcher, rest from exhaustion on Dexter Avenue, the Terminus of the Selma to Montgomery March (25 March 1965)” says the handwritten description of the black and white photograph of a young man lying on his back with one hand behind his head and with his other hand balancing a small American flag perpendicular above his stomach. Jetsonorama wheat-pasted that description on this wall as well.

The original image tells of the fatigue and determination of one marcher in a moment of respite, confident and asserting his place at the American table, willing to endure threats, insults, the fear of reprisal. By itself it can also feel solitary, abandoned.

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Using the visual language of contemporary art on the streets Jetsonorama ingeniously updates the image through replication and repetition of the silhouetted photographic image, evenly spacing the image across a deep red wall. Like Magritte’s Golconde, Warhol’s Cow Wallpaper, or corporate advertiser wildposting all over our cities, the repeated image evokes the impersonality of the mass production of everything, cheapening a life and lessening its importance. When multiplied like a mere decorative motif across a diagonal grid it hints at the callous disregard for a huge number of black bodies beaten and bloodied. The addition of a flag calls to mind a graveyard in high contrast, full of nameless lives cut short. The placement also implies that the graveyard extends further than your eye is seeing.

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

We spoke with Jetsonorama about the genesis of this project which was many months in the making:

Brooklyn Street Art: On the one hand the 50^th anniversary of the marches from Selma gives the events an even stronger resonance. But it may also seem distant from the concerns of a new generation. How do you hope to re-ignite the conversations with this work?
Jetsonorama: I chose to work with a visual metaphor in this piece. By repeating the image of Selma to Montgomery marcher Frederick Moss who was photographed exhausted, lying on his back in the street at the completion of the march, I’m referencing Eric Gardner, Michael Brown and other African-American men who have died on American streets by the institutions that are tasked with protecting all citizens. I like the fact that Frederick Moss is holding an American flag – emphasizing his status as a citizen who is deserving of equality. and his faith in the promise the flag represents. Granted, most viewers won’t know who Frederick Moss is but I think the poignancy of a black man on his back holding an American Flag, ad infinitum, will resonate.

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Brooklyn Street Art: Can you talk about Dan Budnik and his work and why you thought it would translate well to a wall as “street art”?
Jetsonorama: I was raised in the 1960s reading Life and Look magazines. The work of documentary photographers like Eugene Smith, Gordon Parks, Charles Moore affected me such that when I got my first 35mm camera at age 12, I started shooting black and white film, wanting to be a visual storyteller like them. For 22 years I maintained a darkroom where I live and work now on the Navajo reservation and I became part of a community of photographers based in Flagstaff, Arizona. A long time friend and photographer told me about this guy named Dan Budnik who had moved to Flagstaff.

The first time I met Dan I found him to be an unassuming, gentle spirit. I had no idea of the breadth of his work until a year later when he approached me about wheat pasting some of his work in Selma to commemorate the 50th anniversary of the march. I saw a copy of his book “Marching to the Freedom Dream” that documents approximately three years of witnessing the Civil Rights Movement and I couldn’t believe this guy was in Flagstaff. I mean, here was one of the photographers from the humanist photography movement that influenced me – living only 2 hours away. When the possibility of getting work up in Selma fell through I started looking for walls elsewhere to get some of Dan’s work from the march up. Dan’s images are powerful and timeless. They’d work well in any context.

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Brooklyn Street Art: The country is gripped in a conversation about police brutality and its use against communities of color and the poor. How can an artist address such a prevalent systemic racism and classism?
Jetsonorama: You know, like Bob Marley said “…Who feels it, knows it.” I think it’s especially true for artists of color that we don’t have the privilege of pretending like we’re living in post-racial America now that we have a black president. The challenge really is how to get a conscious message out without alienating wall owners (for those people working on legal walls). Personally, I still find inspiration in the utopian ideals of artists like Diego Rivera and the witty criticism of Robbie Conal + Blu who chant down Babylon.

Brooklyn Street Art: Do you think of this work as appropriation? Collaboration? Repurposing?
Jetsonorama: It’s straight up hip hop and punk in that Dan gave me the source photo and I remixed it. I think of it as a collaboration. Dan saw the mock up for the piece and was cool with it.

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Brooklyn Street Art: With this topic and Dan Budnik’s photographic work, you could have prepared a show in a more formal setting. How does the experience of your art here on the street differ from seeing it in a gallery, museum, or a home?
Jetsonorama: After presenting work indoors for 22 years I started getting up outdoors in 2009 and haven’t looked back since. I started working on the Navajo nation in northern Arizona in 1987 and have been photographing people from the tribe since that time. I’ve had shows of that work in various places around the county but the people who I was photographing never saw the work. Now that 95% of what I do is pasted images along the roadside on the reservation of people from the reservation, the work feels more honest and has deepened my relationship with the community. The dialog with the community and the level of trust have grown through the project.

Brooklyn Street Art: What do you hope a viewer will take away from this piece?
Jetsonorama: The piece speaks to parallels and patterns. A successful intervention might be for the viewer to be prompted to recognize patterns of behavior in his/her life and to consider whether those patterns are contributing to or detracting from humanity. On the other hand, not getting tagged would be a good thing.

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Jetsonorama. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

The photo from Dan Budnik is of Frederick Moss. On the caption above, Mr. Budnik explains with his own handwriting the circumstances of the photo. CLICK ON IMAGE TO ENLARGE. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Jetsonorama in collaboration with Dan Budnik. The Bushwick Collective. Brooklyn, NY. June 2015 (photo © Jaime Rojo)

Jetsonorama and BSA wish to extend a heartfelt Thank You to photographer Dan Budnik for the use of his photo for this project. Also to LNY, Nanook and Jess X Chen for their assistance and to Joe Ficalora at The Bushwick Collective for facilitating the wall in Bushwick, Brooklyn.

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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

Young New Yorkers – A Preview of the Auction Benefitting NYC Youth

March 31, 2015 Artists

Don’t miss this cool auction of work by many of today’s Street Artists on the New York scene, and some other folks you might have heard of! Young New Yorkers works with 16 and 17 year-old kids who have been caught in the criminal justice system, giving them a second chance. This is your opportunity to support this non-profit organization that is doing good work for your neighbors and our neighborhoods and to add art to your collection.

Here are some brand new shots of pieces that will be available. For a full listing and to bid on the auction progress online, click here on Paddle8.

Olek (photo © Jaime Rojo)

We had the opportunity to speak with Rachel Barnard, Executive Director and Co-Founder of Young New Yorkers about the event and their programs. We asked her to explain how the programs work.

“Art exercises in our programs are collapsed with restorative justice exercises and they give our participants a way of exploring the impact of their choices while empowering them to make wiser ones in the future. We work with photography, video, collage and illustration. More importantly, in the second half of the program art allows our participant’s to step into their own leadership and self expression,” she explains.

As the participants explore their creativity, they also examine it through a greater lens. “They explore a social issue that is important to them and develop a public art project around that. This is then presented at the final exhibition – one which the criminal court judges, acting district attorneys, social workers and other members of the criminal justice system, attend. It’s a way for everyone to re-meet our extraordinary participants as more than just their rap sheets. So in this way we use art to meet our main goal; which is to empower our young New Yorkers to transform the criminal justice system through their own creative voices.”

Here are some of the pieces that will be up for auction on April 1st.

Swoon (photo © Jaime Rojo)

Obey . LMNOPI (photo © Jaime Rojo)

Mata Ruda (photo © Jaime Rojo)

Icy & Sot (photo © Jaime Rojo)

Miss Van (photo © Jaime Rojo)

Hellbent (photo © Jaime Rojo)

Gaia, LNY and Mata Ruda collaboration. (photo © Jaime Rojo)

Faring Purth (photo © Jaime Rojo)

CB23 . Sonni (photo © Jaime Rojo)

COST (photo © Jaime Rojo)

El Sol 25 (photo © Jaime Rojo)

Cosbe (photo © Jaime Rojo)

Case Ma’Claim (photo © Jaime Rojo)

Gilf! (photo © Jaime Rojo)

Young New Yorkers provides arts-based programming to court-involved young people. The criminal court gives eligible defendants—all of whom are 16- and 17-year-olds and who in New York are tried as adults—the option to participate in Young New Yorkers rather than do jail time, community service, and have a lifelong criminal record. With the ultimate goal of empowering participants to transform the criminal justice system through their own creative voices, all of YNY’s programs culminate with a public exhibition where members of the Criminal Justice System are invited to re-meet the graduates as creative and empowered individuals. In most cases, upon successful completion of the program, the participants’ cases are sealed; so far, 100% of participants have graduated from YNY’s programs.

We look forward to seeing you at Joseph Gross Gallery on April 1 for the Silent Art Auction. Get your advance tickets for only $35 here.

BSA Images Of The Week: 03.01.15

March 1, 2015 Artists, BSA Images Of The Week

Happy March! With the brutally frigid temperatures we had for the whole month of February it is no small wonder that we can still find fresh new pieces on the streets. Some are weeks old and others are days old — all are executed under bitterly cold conditions. Just ask the artists…if you catch them.

Here’s our weekly interview with the street, this week featuring Agni, Alex Seel, Alex 25, Bifido, Brown Boyz, Don Rimx, Eder Muniz AKA Calangoss, Foxx Face, LMNOPI, LNY, Clint Mario, Mata Ruda, McDemott & McGough, Mr. Prvrt, Osch,

Top Image >> LMNOPI. Boy holding a pigeon. (photo © Jaime Rojo)

LMNOPI (photo © Jaime Rojo)

Mr. PRVRT (photo © Jaime Rojo)

Eder Muniz AKA Calangoss. (photo © Jaime Rojo)

Alex25 (photo © Jaime Rojo)

Agni (photo © Jaime Rojo)

Bifido. New piece in Marseille, France. (photo © Bifido)

McDermott & McGough collaborate on most of their projects in a varied range of disciplines such as painting, photography, movies, sculpture and the occasional piece of performance art. Add to that Street Art if you will. From their Facebook page, “From our recent tribute to the late Andy Warhol. In 1986, when were were living in Naples, we were inspired by the Italian tradition of posting posters to commemorate the recently deceased. After we returned to NY and were confronted with the untimely death of Warhol we decided to plaster to the East Village with commemorative posters in his honor. This year, since we find ourselves once again in Italy during the anniversary of his death, we had the poster reposted all over NYC. Look for them in Chelsea, LES, Williamsburg and Bushwick!” (photo © Jaime Rojo)

Any takers? He is asking politely. Artist Unknown. (photo © Jaime Rojo)

A well placed collab between Clint Mario and Foxx Face. (photo © Jaime Rojo)

OSCH. New piece in Shoreditch, London. (photo © OSCH)

Signed by Brown Boyz, the piece was executed by Don Rimx, Ricardo Cabret, LNY, Alex Seel and Mata Ruda. (photo © Jaime Rojo)

Untitled. Central Park, NYC. Winter 2015 (photo © Jaime Rojo)

Painting the Desert : Urban Artists in the Navajo Nation

October 15, 2014 Artists

It’s an unusual pairing: Street Artists who are accustomed to the grit and grime of deteriorating neighborhoods in the city translating their skills to the desert where the environment is outstandingly more natural than built.

In the third year of his experiment inviting artists to paint and wheat-paste in the Navajo Nation, organizer Chip Thomas, whose own street persona is Jetsonorama, appears to have hit a community service vein. “The relationship with the community became deeper,” he says as he relates the integration of some of the artists work relating directly to the history and the stories people tell in this sunbaked part of Arizona. More residency than festival, “The Painted Desert Project” began as a retreat offered to artists Thomas had met through his own association with Street Art festivals like Open Walls in Baltimore.

Troy Love Gates AKA OTHER. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Invited to come for an extended stay, compared to the 4 or 5 days of a typical Street Art festival, these artists are encouraged to study their new environment and to fully immerse themselves before conjuring a new work. Not only does the technique avoid the often levelled charge of cultural imperialism that is associated with the big festivals around the globe, it produces work that has impact and relevance to the community who will be looking at it year round.

Even though there can be a disconnect between the art and the community occasionally, as in the case of one work by the artist Troy Lovegates that was interpreted as being out of sync with some tastes, the majority of works are so closely related to people and the life here that a sense of ownership takes hold quickly. Any cultural worker associated with larger mural projects and programs in cities will tell you corollary stories about how the public responds to the voice of the artist, and one measure of success is the level of engagement by the community. “The project has always focused on creating art that is culturally sensitive,” says Thomas of his approach to the artists and the community, and he says that this year, “I feel like the project moved to the next level.”

Here are fresh images from the third installment of “The Painted Desert Project” that took place this spring and summer, along with some details about the works and their relationship to the people and places that hosted the artists.

Troy Lovegates AKA OTHER. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Street Artists Troy Lovegates and Labrona stayed for a few weeks in the Navajo nation and focused most of their work on a water tank in Rocky Ridge. While Lovegates initial mural was buffed when it “was found to be offensive by members of the community,” says Thomas, their new pieces on the tank were greatly embraced. “We were hosted in Rocky Ridge by the family of Louise Shepherd where we spent the night in a traditional hogan and ate food fresh from Louise’s garden.”

Labrona and Troy Lovegates AKA OTHER Detail. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Troy Lovegates AKA OTHER and Labrona. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Troy Lovegates AKA OTHER. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Labrona. Detail. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

“In Beauty it is finished” by HYURO. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Street Artist Hyuro was created only her second mural in the US here this summer; significant because her first one in Atlanta for Living Walls last year featured nudity that set fire to the passions of religious sensitivities in the neighborhood that were further fanned by showboaters.

For “Painted Desert” the native of Valencia, Spain looked closely at the customs of the community when conceiving her depiction of a prayer ritual, which when viewed in this simple animation, reflects the connection native people have to their agricultural customs and history. “Moved by the simplicity and beauty of the traditional Navajo morning prayer Hyuro positioned her female figure facing the rising sun,” says Thomas, “and she illustrated the movements of this prayer that is performed with white corn pollen.”

HYURO. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

HYURO. Local resident Sharston Woody is a storm rider on this vehicle people call a “4 track”. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Jaz and Mata Ruda. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

JAZ. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

New to the project this year were Street Artists Jaz, LNY, and Mata Ruda, each known for their large scale murals that are interpretive of history and in the case of the latter two, advocacy of social and political causes. This building “was part of the old Bureau of Indian Affairs school system from the 1950s to the 70s, after which it fell into disuse.” Shortly after the revival of the walls, says Thomas, the community began talking about making new plans to convert it into a youth center.

“Local food during the time Jaz, LNY, and Mata Ruda were here was catered by Mrs. Woody and her family,” says Thomas.

Mata Ruda. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

Jaz . Mata Ruda. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

JAZ. The Painted Desert Project 2014. Kayenta, Arizona. Navajo Nation. (photo © Jetsonorama)

Near Monument Valley in Kayenta, Arizona, the Argentinian Street Artist Jaz painted a mural inspired by the plight of wild horses that are starving due to overgrazed pastures, says Thomas. In the image the horses are running to escape capture, he says.

LNY. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

LNY at work. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

LNY. The Painted Desert Project 2014. Kaibeto, Arizona. Navajo Nation. (photo © Jetsonorama)

This vast view of Machu Picchu at the top is a cultural gift from the artist LNY to the community. “He wanted to bridge indigenous cultures of his home in Equador with that of the Navajo nation,” says Chip Thomas, the organizer of “The Painted Desert Project”.

Doodles . Avant Gardener. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

In this mural the artists Doodles and Avant Gardener including important animals that are symbolic to the Navajo like the eagle and hawk, among traditional rug pattern designs, a mountain range, and a rainbow. LNY incorporated a small circle painting in black and white of a woman holding a lamb.

Monica Canilao prepping an installation. The Painted Desert Project 2014. Arizona. Navajo Nation. (photo © Jetsonorama)

Artists Doodles and Monica Canilao “turned my backyard into a fabrication shop, running chop saws and table saws late into the night,” says Thomas of their work to rebuild a roadside food stand that had burned to the ground. Having made friends with the proprietor, Mrs. Woody, during a previous edition of “Painted Desert,” the two constructed the sides of the food stand and painted them behind his home. As evidence of the bond created between residents and program participants, the artists spent 10 days doing this work, according to Thomas. The family of Mrs Woody came to the house often during the construction and painting to assist and to bring home made food to the artists. Since the artists departed at the end of the summer they have kept in contact with the Woodys via Facebook and Instagram.

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Jetsonorama extends his most heartfelt gratitude to all the people who came together and help with donations of all kind to make this project possible, including to all the donors at http://www.gofundme.com/painted-desert-project

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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

A New Muralism Growing : Spotlight on Jersey City and “Savage Habbit”

August 6, 2014 Artists

An important part of the Street Art ecosystem is the mural and right now we are in the midst of a mural revolution in neighborhoods, towns and cities everywhere. These are not your mom’s mural programs; overwrought art-by-committee debates that result in something no one is really in love with. And while they are often born from the community in some way, they do not try to address the same needs that a traditional community mural has filled by touching on the historical, sociological, local topics or lore. Although they could.

These are mural programs fueled often by one or two people who approach landlords and businesses directly and get permission for artists to hit up a wall. The results can be varied and more often than not the good ones survive.

Case Ma’Claim for Savage Habbit. Jersey City, NJ (photo © Jaime Rojo)

Three forces are at work today contributing to this rise in freelance muralism and mural programs as far as we can discern. First, the rise of Street Art as a recognized grassroots global phenomenon has opened the eyes of moribund neighborhoods (and real estate developers) to the revitalizing effect that art in the streets can have on an area’s desirability and, along with it, has suddenly relaxed the nerves of many a politician and police officer.

Secondly, the rapid proliferation of a global Street Art festival scene that is creating a circuit of relatively young traveling painters “getting fame” with genuine D.I.Y. personal art and parlaying it to their following across digital platforms has certainly sparked the interest of more than a just a few peers.

Case Ma’Claim. Detail. For Savage Habbit. Jersey City, NJ (photo © Jaime Rojo)

Finally, now that we are a good ten to fifteen years into the modern Street Art explosion, many of the artists who stuck to their craft have actually developed it, broadened it, deepened it. Consequently we are blessed with a new generation of ever more gifted painters, wheat-pasters, sculptors, knitters, and installation artists who can knock out big pieces in the public space with speed and panache.

Today we take a look at a nascent local mural scene in Jersey City, New Jersey, but we could just as easily have examined nearby Newark – or a growing constellation of towns. Begun just a handful of years ago by a local blog named Savage Habbit, this small mural program showcases local and internationally known Street Artists and co-founder Inez Gradzki has organized many walls in an around an arts community that has been growing in fits and starts.

DULK for Savage Habbit. Jersey City, NJ (photo © Jaime Rojo)

Using their enthusiasm for the scene and connections to artists, the blog has worked hard in a bricks-and-mortar way to show their love for their community. With an eye on the potential of this town that lies just a few minutes from Manhattan to be a magnet for culture and artists, programs like these are already attracting New York artists. Not surprisingly, a growing number are also deciding to live in these towns, having found friends and given up on trying to live in the expensive city that once drew and retained the creative class by the thousands annually.

So here we are with some recent walls and murals in Jersey City – a template for many more to come.

Sean9Lugo. Detail. For Savage Habbit. Jersey City, NJ (photo © Jaime Rojo)

LNY. Jersey City, NJ (photo © Jaime Rojo)

Li-Hill for Savage Habbit. Jersey City, NJ. This piece was completed but cars parked in front of it prevented us from taking a full photo of it. (photo © Jaime Rojo)

NoseGo for Savage Habbit. Jersey City, NJ. We could only get a detail and a strange angle of this piece due to cars parked in front of the piece. (photo © Jaime Rojo)

To learn more about Savage Habbit click HERE

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OWB2 : Open Walls Baltimore 2 Winding Up (VIDEO)

May 31, 2014 Artists

Two years after Baltimore opened its walls to Street Art, the street artist Gaia has again summoned artists this spring and summer to regale walls with murals throughout the up and coming neighborhood it was meant to help develop and revitalize, the Station North Arts & Entertainment District. From March through June this year fifteen artists from hometown Baltimore, Philadelphia, New York, Europe and South America were slated to come through and hit big walls.

With the majority of the original works still remaining from the first phase, the new walls OWB2 were scheduled for Lesser Gonzalez Alvarez, Betsy Casanas, El Decerter, ECB, Escif, Gaia, LNY, Logan Hicks, Santtu Mustonen, Nanook, Ozmo, D’Metrius (DJ) Rice, Ernest Shaw Jr., Katey Truhn & Jessie Unterhalter, Zbiok, and the Urban Playground Team.

Thematically derived in many cases from local history and figures and culture, the publicly/privately funded mural program is complemented by a series of free performances and workshops throughout the duration of this year’s installations.

Here are some recent images of walls being completed thanks to Martha Cooper and M Holden Warren. Back in April we also published a selection of images from OWB from photographer Geoff Hargadon.

New Shots from Open Walls Baltimore 2

April 8, 2014 Artists

Open Walls Baltimore 2 has begun and only a few pieces have been completed but we thought you’d like to take a look, courtesy photographer and BSA Contributor Geoff Hargadon, who was tooling around one afternoon.

This spring Baltimore will be hosting a list that includes Zbiok, Anttu Mustonen, Ozmo, Nanook, Logan Hicks, Lesser Gonzalez, LNY, El Decertor, ECB, D’metrius Rice, Ernest Shaw, Escif, Gaia, Jessie and Katey, and Betsy Casanas.

Click HERE to learn more about Open Walls Baltimore 2

Street Artists At The Fairs For Armory Week NYC 2014

March 4, 2014 Artists

Not quite spring, the Art Fairs are arriving in New York ahead of the tulips. We strolled the impossibly long aisles and peered into the booths to find the folks who have at other times been called “Street Artists”. This weekend they’ll be fine artists, and the list is quite a bit longer than years past as the professionalization of the street continues.

Shows like the Armory, Scope, Volta, and Fountain are good testing venues to see the commercial viability for many of these artists and some have foregone representation – preferring to foot the bill on their own. Since walking the streets to see their work requires multiple layers and hats and gloves – traipsing through the fairs can be far preferable than dirty old Brooklyn streets. It’s also nice to see how some of these folks look in a tie or a blouse – or even just hit a comb. Here below we include some possible gems for you to hunt down.

THE ARMORY SHOW

Pace Prints

How & Nosm at Pier 92

For The Armory Show Art Fair location, dates, times, booth numbers, etc… click HERE

SCOPE ART FAIR

Andenken Gallery

Amanda Marie, VINZ

Vinz at Andenken Gallery (image courtesy the gallery)

Black Book Gallery

Judith Supine, WK Interact, Ben Eine, Cycle, James Reka, Cope2, Indie184, Shepard Fairey

Judith Supine at Black Book Gallery (image courtesy the gallery)

C.A.V.E. Gallery

PEETA, Pure Evil

Pure Evil at C.A.V.E. Gallery (image courtesy the artist)

Fabien Castanier Gallery

Speedy Graphito, Mark Kenkins, RERO

Speedy Graphito at Fabien Castanier Gallery (image courtesy the gallery)

Fuchs Projects

Rafael Fuchs, Aakash Nihalini, Skewville

Krause Gallery

Ben Frost, Hanksy

Ben Frost at Krause Gallery (image courtesy the gallery)

Moniker Projects

Beau Stanton, Ben Eine, David Shillinglaw, Greg Lamarche, Jon Burgerman, Pam Glew, Ron English, Muffinhead, Keira Rathbone.

David Shillinglaw at Moniker Projects (image courtesy the artist)

Natalie Kates Projects

Skullphone, Swoon

ThinkSpace Gallery

Know Hope

Vertical Gallery

Stormie Mills, My Dog Sighs

For SCOPE Art Fair location, dates, times, booth numbers, etc… click HERE

VOLTA NY

Jonathan LeVine Gallery

POSE

Pose at Jonathan LeVine Gallery (image courtesy the artist)

For VOLTA NY Art Fair location, dates, times and booth numbers, etc… click HERE

FOUNTAIN ART FAIR

Fumeroism, Jay Shells, Leon Reid IV, Vicki DaSilva are all showing at Fountain this year

Vicki DaSilva at Fountain (image courtesy the artist)

Urban Folk Art

Adam Suerte

Adam Suerte (courtesy Urban Folk Art)

Street Art Installation curated by Mighty Tanaka

Alex Emmert will be curating the Street Art Installation and he has invited Chris Stain, Alice Mizrachi, Skewville, Cake, Chris RWK, Joe Iurato, Rubin, EKG, Gilf!, Omen and LNY.

For Fountain Art Fair location, dates, times, etc…click HERE

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