NOMADE
On July 23 at the Hold Up Gallery in Los Angeles, Nomade breaks new ground with their latest show “Recent Artifacts”. This new collection of works masterfully integrates their iconic style, social metaphor, and visual fury into a full assault of the senses redefining the gallery space with the ethos of the street. Don’s miss this pivotal show that will surely ensure Nomade a prominent place in the Los Angeles Art Scene.
To introduce readers to some of the Street Artists in the upcoming show “Street Art Saved My Life: 39 New York Stories”, BSA asked a number of the artists to take part in “Back Talk” with one of our most trusted and underground and sweet sources for modern art, Juxtapoz.
Today we hear from Anthony Lister.
Artists you admire: “The ones that do it for love and discovery.”
Read “Back Talk: A conversation with Anthony Lister” on Juxtapoz: http://www.juxtapoz.com/Features/back-talk-a-conversation-with-anthony-lister
To start your weekend dancing, OverUnder and IRGH rocked a couple walls – that go swirling by in this quick and dancey video. More please!
At Andenken Gallery, Brooklyn Street Artist Aiko will open her new show on Sunday.
Second Saturday at Black Book Gallery in July will entail a visit by two artists from Southern California, Phil Lumbang and Ernesto Yerena Montejano.Click on the link below for more information on this show:http://www.brooklynstreetart.com/theblog/?p=22640Black Book Gallery
See our piece on Ernesto from last autumn here
Ernesto Yerena: Art Without Borders
Click on the link below for more information on this show:http://www.brooklynstreetart.com/theblog/?p=22636
http://www.brooklynstreetart.com/theblog/?p=22434
The always gracious and hot smart Meighan O’Toole founder of the popular site My Love for You is debuting her podcast series with none other than the “man of words”
“I’ve toyed with the idea over the past few years of doing a podcast series — but honestly never found the time to nail it down. But push came to shove a few weeks ago when I was given the opportunity to sit down with graffiti writer and artist Steve Powers. He had come into SF to set up for Sign Your Life Away at Guerrero Gallery and was only going to be in town for a little over two days. So I figured, no time like the present “. Hear the conversation >>>:http://myloveforyou.typepad.com/my_love_for_you/2011/07/new-podcast-series-steve-espo-powers.html
From Tehran Kolah Studio is issuing a call for artists to contribute submissions for their Call for Art # 12.
BrainStorm magazine has just shifted to issuu.com .and closed it’s individual domain… but it is still alive and continues to work as one of the very first cutting edge experimental emags shooting out some ideas from IRAN.
From their press release:
“KolahStudioTehran is Calling For Artists to make an issue describing street life and street art…. We are living in an urban enviroment so we creat an urban influenced art…. Let’s describe our culture.. Let’s build an album which defines some aspects of our generation…. paintings, drawings, graffiti, Street art, poetry and short stories…. every kind of art form which can be included in a PDF form as a magazine.”
To take part and for more info please click on the link below:
Cope2
Maximillian Gallery at Sunset Marquis Presents
COPE2 – AUTHENTIC In His First Los Angeles Solo Exhibition
OPENING RECEPTION: Opening July 9th, 2011 6 PM – 9 PM
Exhibition: July 9th, 2011 – August 17th, 2011
Every Day, 1PM – 8PM, and by appointment (Closed Mondays)
Maximillian Gallery is pleased to present COPE2 – AUTHENTIC. In his first solo exhibition in Los Angeles, California, COPE2 brings his raw energy and original graffiti art to the city of street art. This important exhibition presents current work as well as a retrospective of COPE2’s art. From his early graffiti to his iconic work on New York City Subway trains, to his latest artistic creations, this show is not to be missed. COPE2’s works in the show also include his famous graffiti New York City MTA subway maps and miniature subway trains.
COPE2 has influenced everything from other graffiti art to today’s street art and beyond. COPE2 is a worldwide celebrity and a veritable legend within the graffiti art world. Artists from all over the planet track him down in order to paint beside this master. Raised in New York in the South Bronx, COPE2 has been painting for more than thirty years on the streets, revealing his unyielding integrity as he tirelessly paints these urban labyrinths; he remains the most authentic emblematic totem of committed graffiti art.
“It’s such an honor to be working with COPE2, one of the most prolific and legendary graffiti artists of all time,” says Caradoc, Owner & Director of
Maximillian Gallery. “COPE2 is simply one of the greats. He’s a trailblazing graffiti original whose colorful, poignant, energetic art is sought after by
collectors worldwide and we are thrilled to be presenting his first solo show ever in Los Angeles.”
“Maximillian Gallery has set itself apart as a world-class art gallery in one of the greatest locations in the world, the Sunset Marquis hotel, known for rock stars and celebrities,” says COPE2. “Working with Caradoc, in this gallery in this location, on this major show, which encompasses my artistic career to date, is a true thrill for me. I’m really looking forward to this first-ever major exhibition of my work in LA.”
LA based Street Artists Septerhed and Destroy All Design like to work together on collaborative pieces around the city and recently completed this wall together, their two styles working in tandem. But what is more exciting is this video, actually.
Remember the early association of hip-hop music with graffiti in New York? This new video shot and edited by Carlos Gonzalez careens in the opposite direction – break dancing and hip bumping is replaced with fitful rage and fist pumping, with all the charm of a ransom note.
Under the watchful eye of a bow-tied statue and with the dramatically foreboding rumble and screech of guitars, the roadside video is tinged with putrid nighttime light and thrashing power chords sawing through the hurried splatter of wheat paste and brush. This is a take-no-prisoners approach to the warped wall while glaring traffic flies by; greedy handfuls of gothic glob is grabbed from the gutbucket and slammed across the surface, the swelling cacophony starting to take shape.
Destroy all Design and Septerhed (photo © Carlos Gonzalez)Also fun is the way the wheat paste is not merely an adhesive, but a medium for texture and expression. By the time the final shot of the piece stands still and guttural roar of our narrator invokes the image of “raining blood”, I needed to wash my hands. But for all the mechanized punch up and ferocity of blurry faced installing, the designed crispness of the material and subject matter tells you these monsters might live in an arcade or a basement rec room with a big screen, Dorito stained fingers, and a warm two liter soda bottle nearby within arms reach.
See more images by photographer Carlos Gonzalez on Facebook
Shepard Fairey has grown up before the eyes of fans, peers and would be competitors. Undaunted by criticism he gets from both sides of his chosen vocation as a globally-known street artist, the man still has a great deal to say. His art has made its way into homes, museums, wardrobes and book collections in addition to all the walls–legal and illegal–and he pays the price and gains the benefit of all of it. A living conundrum, he embodies the sharp tongued anti-establishment, anti-corporate, anti-police state ethos of his formative years, while gradually beginning to resemble the middle-aged dad who so much of the punk generation rebelled against.
He raises money for individuals and organizations who advocate for those who are disempowered or victimized, yet street art and graffiti kids who feel marginalized in their lives call him a sellout for making commercial work. Without the credibility of major shows, arts institutions, and collectors he could never afford to employ people who help him. Yet keeping it clean and doing legal walls costs him “street cred.” How exactly does one become an authority on questioning authority? You try this balancing act, and see how far you get without a scrape or two.
Shepard Fairey (photo © Jaime Rojo)Actually, Shepard seems pretty down to earth and surprisingly un-embittered for a guy who has made a few mistakes and taken some hard bumps since growing up a skateboarder, going to RISD, and making all those weird “Andre the Giant” stickers. It’s not like he’s been hiding behind the couch of course. He likes to be celebrity DJ at openings. He likes to inveigh on panels about Street Art and graffiti and it’s impact on culture. He loves to write on his blog about all manner of social and political issues.
Because of his professional and commercial success as a street artist, designer, and illustrator and his talkative spates as social activist and cultural influencer, he’s laid himself out there for self-appointed persons of outrage and myriad colorful verbal pugilists with rapidly batting wings who are attracted to the light. Just a few weeks ago he and his wife had a first encounter of the gossip kind when they were hi-jacked for 90 seconds by a brain-free tabloid show at an airport. Sure, it was sufficient dish for the terminally distracted, and his fans and critics jumped to throats to settle burning questions like the current state of his credibility as a real Street Artist and to analyze the innerworkings of his marriage.
If you get to see the people who work with him at his studio in Encino, some for many years, you’ll get the idea that the CEO is fair and friendly as he seems. People buzz in and out of rooms and offices in this polished wood complex; each genuinely warm and welcoming to a stranger, willing to take an extra minute to talk or point the way to something interesting to oggle. They could be stoked because their daily grind is surrounded by cool and storied artwork, stacks of books, records, art supplies and ephemera, and this afternoon alone you might just run into Martha Cooper, Cope2, D*Face, or Word to Mother as they stop by to say hello or discuss a project. Obviously an achiever, he is always in motion and critical of so much in this world and you could see how he may have a choice word in pursuit of greatness, but if the regard for him and the camaraderie you see is forced, Los Angeles really must be full of actors.
The artist himself takes time to give a tour of some of his favorite items, all the while hitting whatever issues or artistic inspirations are evoked; gifts of art from friends and famous, his record cover collection from the 80s displayed on the wall, personal mementos that have meaning or stories. Here is a personally signed Clash LP cover and now let’s talk about America’s dependence on fossil fuels. He’s a new rubylith transparency of Ronald Reagan called “Mo(u)rning in America” and now lets talk about how influential Russian Constructivism has been to his work and how to simplify and exaggerate perspective.
With the meteoric rise in interest in Street Art during the last decade, it’s difficult to know if Fairey pushed the wave or learned adeptly how to ride it, but the list of cities, walls, art products, shows and professional accomplishments requires a catalog. A hotter younger head might get too swollen to fit through a door and hubris might cloud his worldview. During a brief interview at his studio in Los Angeles while he signed multiple copies of a new print, the husband and father of two with grey flickering around his temples comes across as a pretty sincere guy who may worry a bit too much and who has a fire in the belly that burns fiercely, if a little more controlled than before.
Brooklyn Street Art: What is interesting to you at the moment?
Shepard Fairey: The MOCA show is interesting. The rise of street art in general is pretty interesting. The reason I called my book “Supply and Demand” is because the forces, economic and cultural, are what’s fascinating around the evolution of an artists career, an art movement, politics, fashion, music, everything. I think a lot of what’s fascinating to observe right now is that as Street Art and graffiti have become maybe a little bit more acceptable and marketable that certain people are very happy about that because maybe they have done it in obscurity and poverty for a number of years and other people prefer the idea of it staying underground.
To me that’s actually kind of an elitist standpoint. “Oh the institutions are elitist! We’re underground!” and they don’t want to share it.
Brooklyn Street Art: And in the process they are creating their own institution which is called, “The Underground”
Shepard: Exactly! So just seeing how all these points of view are going around – I think debate is really healthy. I think that the most potent things are maybe contentious. So seeing how many people are loving this moment and how others are going out and attacking all the artists stuff that showed in the museum – calling them sellouts – these are all not always uplifting in terms of my opinion of humanity but are fascinating to see. To me it’s just an exciting moment.
But I also think a lot of it revolves around these sort of reductivist arguments that are valid based on defining things very narrowly and putting them in categories that are unhealthy. My strategy as an artist has always been, “Look at every single situation and adapt to it the way that is logical”; the “inside/outside” strategy I’ve called it. For example, trying to reach people in a democratic way by putting stuff up on the street but also if there was an opportunity, for example, to do something for a band I like, or do something in a gallery – that’s just another way to reach people. So it’s not being dictated to by the system, working around it when you need to, but also not being afraid to infiltrate and work within it. That’s been my approach.
And I guess a lot of the friction that I’m seeing seems to based around people who cannot think that way.
Brooklyn Street Art: Your participation in the MOCA show; There weren’t many new elements in that show were there?
Shepard Fairey: Um, yeah there were actually. The big canvas was new, all the environmental pieces were brand new paintings. But really what they asked for in that show was a historical overview but they also wanted the work to have the spirit of the street but have it a stand-alone artwork in an institution. So there are sort of two agendas that aren’t always easy to bring together. So my solution on some of it was to make “paintings”
Brooklyn Street Art: It seems like we’re swimming around in this system that we are all kind of uncomfortable with and that friction that you speak of flares up during times like this. It’s a punctuation in the flow of thoughts. We have this huge show and it’s like, “Here marks a beginning, or an ending”. So many people feel they have to weigh in with opinions.
But you’ve certainly borne a number of strong or vehement attacks over the years just because of the way you negotiate the system and your place as an artist within it. Do you think your skin has gotten thicker as a result? Or have you always been kind of thick skinned.
Shepard Fairey: Um, I’m actually pretty thinned skinned and it always hurts my feelings when people attack my work but the real enemy is indifference. If something is ire-ing or inspiring it is motivating someone to respond. I think that could be the starting point for a conversation and I’ve known a lot of people who, once they’ve heard me articulate my opinions about things, they’ve changed their opinions about my practice, my way of working. Other people haven’t. But it’s not my goal to win everyone over but it is my goal to make work that I think sparks a conversation. So I’ve accepted that my feelings are going to get hurt trying to do what I think is most important to do. (laughs)
Brooklyn Street Art: I’m not sure I could withstand the continuous attention and negativity that can be out there.
Shepard Fairey: Well the nature of street art is about people who are aggressive and rule breakers and oftentimes very opinionated about how they think things should be done or not done. So just by inserting myself into that arena I’m going to be dealing with a lot more static than almost any other area of culture (laughs). But that’s my choice.
Brooklyn Street Art: It also feels like home.
Shepard Fairey: But when I look at the rewards of it, and when I say rewards I don’t mean financial at all, I mean the satisfaction of creating something from nothing and empowering myself and speaking to a lot of people in a way that’s democratic – to me all of that greatly outweighs having to deal with haters from my own community or law enforcement. I mean all of that stuff has been really stressful but when I’m out doing something and a kid comes up and says “Hey, you know I got into graphic design or I got into making art cutting stencils because of you,” – that happens frequently – and that makes it all worth it because that person might end up making art that is very powerful, that’s going to change someone else’s life. The sort of cumulative effect of that influence is hard to even quantify.
Brooklyn Street Art: Is there a sound? I know you have a musical ear – is there a sound when something like that happens in your life when a kid talks to you like that, do you hear a “ping!” or “ching!” – and think, “That was exactly what I wanted”. Or do you see something visual like a light?
Shepard Fairey: Well, I remember a moment in my life when that happened for me and so it’s almost like when you smell the same smell as your first girlfriends perfume or something that’s very Pavlovian, I guess.
Brooklyn Street Art: That’s what I’m thinking about.
Shepard Fairey: When I first got into skateboarding and I went over my friends ramp and the experience of riding that ramp and how it seemed like it was changing the world for me. Or the first time I listened to The Clash or The Sex Pistols and how it was like, “Okay, wow, everything just got a lot different, broader, more exciting.”
Brooklyn Street Art: Doors flew open.
Shepard Fairey: Yeah, knowing those moments in my own life, when someone talks about that for them – I’m like, “How could I not feed into that as much as possible?”
Brooklyn Street Art: I think that is very gratifying.
Shepard Fairey: Yeah it is, I mean ultimately I still enjoy this stuff. I don’t feel in any way like “Oh, I’m such a martyr, I’m doing this for the people” – The great aspect is that I enjoy doing the work and I enjoy going out and putting it up. The funny thing is I used to think about being a thorn in the side of the authorities when I was doing my thing. Now I’m actually a thorn in the side of the authorities and some of my own peers who think I’m too successful. This is really funny. I’m too “street” for the corporate, too corporate for the street.
Brooklyn Street Art: It’s a funny place to inhabit.
Shepard Fairey: I guess it is about understanding the world we live in and learning how to navigate in a way that you get as much good and as little bad as you can but not just being unrealistic and an isolationist because you refuse to engage something that inherently is going to be problematic. There are a lot of people who do this – they’re like, “oh I’m not part of that” – BUT you go to the store and buy stuff that’s made by evil corporations, you’re wearing Nikes, – by saying that you are not part of it you actually are just being complicit anyway.
Brooklyn Street Art: You’re actually not helping in any way to bring it forward in any way at all. You’re dropping out.
Shepard Fairey: Exactly. And…
Brooklyn Street Art: You’re an expert critic today, but your not doing anything constructive.
Shepard Fairey: And my whole thing is that if there is a really great net positive in doing something that you might have to engage with a company but they facilitate a project that ends up really benefitting the kind of culture and art that you believe in, to me it was worth having to put a logo on a wall in the corner of an art show. But there are some people who, I think in a lot of ways in an effort to justify their own complacency, say “Oh that’s not cool because of that. The whole thing is ruined”. So now they feel much more justified just sort of sitting around hating on everything. And you know, not being able to have the chip on the shoulder is something that a lot of people from the Street Art world don’t want. They want to remain persecuted and angry. It’s something that feeds them.
You know that is something that has driven me in a lot of ways – frustration, anger. And there are people who I think are very self destructive in how they deal with those emotions. But now I feel like I’ve just channeled that in much more constructive ways.
This article was originally posted on The Huffington Post
LA artist Patrick Martinez depicts urban life with unflinching stories that happen in the real world where he lives. We like to say, “Mine the diamonds in your own back yard”, and that is exactly what Patrick does by incorporating into his art without apologies what he sees where he goes. Using symbols of authority, militarism, commercialism and their brutal or humorous intersection, men play roles of protagonist and antagonist on a stage where murky gray municipal Greek architecture surrounds strip malls, plantations, and supermarket parking lots.
Patrick Martinez (photo © Todd Mazer)With flexibility of medium, he constructs the world with symbols and materials and snatches of conversations on the street. Chaotic pileups of people at cross purposes are mingled with free floating graffiti tags in the air. Cool bright neon glows and recalls liquor stores, pawn shops, and bullet proof glass – words are pulled out of context and combined with slogans. Insistently shiny helium filled happiness, near bursting with optimism, becomes a metaphor for aspiration – heart shaped balloons pulling at their strings to fly upward; and of dreams brutally dashed as they are stomped underfoot or caught in the crossfire. Brutality and storewide sales, when paired, can evoke a certain sunny sarcastic fascism in a showman’s hands, but Martinez prefers commentating on the life in the streets without that romanticism or coy finish.
Here are some in studio images from a visit to Patrick by photographer and BSA contributor Todd Mazer.
For more on Patrick Martinez art click below:
http://www.patrickmartinez.com/
For more on Todd Mazer Photography click below:
Our weekly interview with the street, this week featuring Anthony Sneed, El Mac, Elle, Goata, Joshua John, JR, Katsu, Leba, Obey, R. Robots, Retna, REVS, Reskew ACC.
Joshua John. Detail (photo © Jaime Rojo)“The piece is called “Moon Mask” and it’s ink and acrylic on paper. The concept of the piece is based on the idea of revealing one’s true self and letting go of masks that blind us” Joshua John
See more images by photographer Carlos Gonzalez on Facebook
When we visited the LA MOCA “Art In the Streets” exhibit days before it opened in April, the feeling of camaraderie and expectation hung thick in the air as artists and curators and museum directors put the final touches on what they knew was the first major show of it’s kind; an historical taking stock of the route graffiti and Street Art travelled over the last half century to become an undeniably positive influence on art, music, fashion, … the culture. That week when talking with Sharon Matt Atkins, The Brooklyn Museum’s Managing Curator of Exhibitions, about the plans for bringing the show to our beloved city in Spring 2012, we were nearly apoplectic about the prospect of somehow being involved in the welcoming.
Sadly this afternoon we hear from the museum and friends that the show has been withdrawn. Sally Williams from the Museum’s Public Information Department confirmed the news to BSA over the phone. “This is a very important show for anybody to have but it is also a huge and very costly exhibition and we just couldn’t get funding for it”.
Meanwhile the last hour in the Twitterverse has raised a bit of a buzz about the statement by Brooklyn Museum Director Arnold L. Lehman’s that the decision is “due to the current financial climate”. The current home for “Art in the Streets” has found the show receiving great critical and popular acclaim and the much sought after younger demographic forming lines, making their own videos of the show, and yes, hitting up the giftshop. It really looks like it is proving to be a blockbuster for the museum and business in the community. That’s why its even more sad and a little confusing to find that Brooklyn can’t host what would surely be a boon to the organizers, the museum, and the city.
We thought that the cultural history of our city would have been greatly enhanced by the Brooklyn Museum’s decision to be the next stop of this exhibition. Despite it’s association with the negative aspects of vandalism and all that go with it, graffiti and Street Art have transformed global arts culture in many positive ways and New York is known worldwide as one of the birthplaces, an epicenter of this rich cultural history and what it has evolved from it.
Brooklyn Museum Withdraws from Art in the Streets Exhibition
Brooklyn, New York–June 21, 2011. The Brooklyn Museum has canceled the spring 2012 presentation of Art in the Streets, the first major United States museum exhibition of the history of graffiti and street art. Organized by the Museum of Contemporary Art Los Angeles, where it is currently on view at The Geffen Contemporary through August 8, 2011, the exhibition had been scheduled at the Brooklyn Museum from March 30 through July 8, 2012.
“This is an exhibition about which we were tremendously enthusiastic, and which would follow appropriately in the path of our Basquiat and graffiti exhibitions in 2005 and 2006, respectively. It is with regret, therefore, that the cancellation became necessary due to the current financial climate. As with most arts organizations throughout the country, we have had to make several difficult choices since the beginning of the economic downturn three years ago,” states Brooklyn Museum Director Arnold L. Lehman.
A certain surreality is slipping through the sunbaked streets as we cross the summer threshold. The mashup aesthetic of course has been going since the early days of Bast (or before), but now that visual moorings are loosed, all manner of recombinant strains of references and their assigned meanings are also aflight. Not all of these are examples of this movement, but many appear influenced by it. As usual, Street Art is as much a reflection of the society as it is a participant in its directional moves.
Our weekly interview with the street, this week featuring Banksy, Clown Soldier, CV, Cyrcle, Delicious Brains, Gaia, Hellbent, Hugh Leeman, ILL, Imminent Disaster, Jolie Soutine, KAWS, Mosstika, QRST and ROA with photographs by Jaime Rojo, Carlos Gonzales, and Birdman.
North of Grand Street – that’s how you know it’s NORTHSIDE. Shooting for SXSW status soon, Northside Festival already has tons of live free music in bars, clubs, and on the street – including ticketed gigs like BEIRUT tonight in McCarren Park. Did we mention there will be approximately 270 bands?
Now L Magazine is extending the offerings with a huge visual art component, replete with open studios and panel discussions and, this is where we come in, art in the streets.
This weekend the streets of Williamsburg will be alive and buzzing with an array of all sorts of visual and musical exhibitions and shows to mark NorthSide Open Studios and the very popular annual event CrestFest which includes the famous Crest Hardware Art Show, now pushing a decade.
This festival includes 175 events and participating galleries and artists’ studios. For additional information regarding the complete list of events, schedules and locations click on the link below:
http://www.northsideopenstudios.org/
A combination of Brooklyn Street Art and Brooklyn Street photography, Jim is having his first show tonight. Stop by and say hi and have some refreshments.
Skewville, the revered Street Art duo, are going LARGE this weekend on a 100′ long wall across from the Brooklyn Brewery and around the corner from the Brooklyn Bowl. Can’t get more Brooklyn than that, baby. The progress all week has been promising.
Skewville will be painting live on Saturday beginning at Noon to complete the 100 feet long mural on the corner of N. 11 and Wythe Streets. Special thanks to Crest Hardware and Montana Colors for their generous help. Read more about the project here.
A neighborhood favorite, this art show in a hardware store has grown into a festival of it’s own, with bands and food and crafts. You have to see it to believe it, so put it on your list. Street Artists are well represented in the collection too with Olek crocheting covers for some garden equipment and Aakash doing some installations in the actual garden out back. Our short list includes Skewville, Jon Burgerman, Olek, Aakash Nilhalani, Haze, General Howe, Royce Bannon, Celso, and Laura Lee Guilledge.
For more a complete list of events and schedules click on the link below:
http://cresthardwareartshow.com/wordpress/
CrestFest and BSA invited internationally renowned artist Jon Burgerman to do his trade mark doodling and drawing on a ZipCar right in front of Crest on the sidewalk, and with arms full of Posca markers at the ready, he’s going to be out there doodling LIVE!. A little more about it here.
After Jon mucks up the car, we’re piling a bunch of monkeys in it and taking it for a drive around the hood, probably fighting over who gets to control the radio. We’re hoping to entice people on the street to go to the afterparty we’re co-hosting with Crest for the Northside Open Studios Launch party. We’ll drink a toast to Skewville and Jon and all the artists who make this gorgeously ugly borough a hotbed of creative activity. All sales benefit Northside Open Studios.
Pandemic Gallery invites you to come and play BOXHOCKEY!!!
The greatest game you probably haven’t played yet! We’ve been lucky enough to play it, and nearly poked an eye out, but that’s just because we have very little athletic skill. You’ll probably ace it like a pro.
Plus it has custom art based on the Box Hockey game by some of the kool kids on the Street Art scene among the list of participating artists;
AV
Dirty Deeks
Don Pablo Pedro
Keely
Matt Siren
Scott Chasse
Stikman
Tony Bones
Vor138
Wrona
Swinging over to the topics of public art and public engagement for a minute, here are two artists doing the heavy labor of providing a place to relax, to access the reverie of the sky and leaves and a moment of solitude. Appearing to be gorilla actions acting independently of one another on two different continents, artists Jeff Waldman and Narcelio Grud were inspired to ask friends help them place swings and hammocks in public places for people to enjoy. The process and results are here in some screen shots of the videos.
Swings: Los Angeles, by Jeff Waldman
The L.A. chapter of something called The Awesome Foundation awarded a grant to install $1000 worth of swings throughout Los Angeles. In spots all over the city conceptual artist Jeff Waldman installed a series of illegal swings and, judging from this video, Los Angelinos loved them.
Narcelio Grud: Brazilian Hammock Interventions
In another Urban “intervention” created by Brazilian artist Narcelio Grud with the traditional Braxilian hammock, displayed in public spaces in European cities for the free interaction with the population.
Alternating between tentative to full body immersion in the simple movement, it looks like it is a lot of fun for people to interact with this installation.
Here we see hammocks installed in the Manchester Town Centre in England. Lindenberg Munroe captured the experiences on this video.
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