Urban Revolution. On view from July 21 / December 03. Lisbon, Portugal.
“Urban[R]Evolution: A Journey from Graffiti to Contemporary Art” is a large exhibition that marks the rise and popularity of urban art and features original installations by 18 renowned Portuguese and international artists. Curated by Pauline Foessel and Pedro Alonzo, this showcase takes place at Cordoaria Nacional in Lisbon, running from June 21st to December 3rd.
The historic and iconic building that once served as the National Rope Factory during the late 18th century, catering to the needs of the Portuguese Navy by producing ropes for naval purposes, is situated near the scenic Tagus River. With its imposing neoclassical and industrial design, the building stands as a testament to the city’s cultural heritage and is now a versatile venue for hosting events after its meticulous restoration. With free-standing booths carefully built not to endanger the historic structure, the flow of the exhibition offers a pod-like adventure to visitors to experience individual artists’ work and visions. Some utilize the spaces fully with installations, while others choose the homey quality of an artist’s studio with work in progress.
The exhibition brings together a lineup of artists whose work was featured in early graffiti images by photographer Martha Cooper, second-wave western street artists who have burnished their names in the commercial urban contemporary art milieu, and a collection of names more locally known – each with profound ties to the graffiti and street art scene. Among them are esteemed names such as Barry McGee, Futura, Shepard Fairey, Swoon, Vhils, and Obey SKTR, to name a few. The curators thoughtfully selected these artists to narrate the fascinating development of urban art, tracing its origins from early tags, graffiti, and subway pieces to its current expression as street art and mural art.
Many of the artists are associated with previous projects of the curators and with one of Lisbon’s anchors of the street art scene, the artist and businessman Vhils. Aside from these connections and the common roots of early graffiti culture, it may be difficult for ticketed visitors to the show to discern the commonalities of the works on display. The connective tissue between the booths will be the many iconic photographs of North American photographer Martha Cooper, whose lens has captured the human experience in urban areas for about 50 years, immortalizing the origins and evolution of graffiti, street art, and urban art – when the scene was viewable directly on the train cars and streets of major cities like New York.
Another nerve center for the show is the installation by conceptual street artist ±MaisMenos± , known for his thought-provoking art pieces and street activations that sublimely challenge social norms and provoke critical thinking. Within this kinetic electronic display, a phalanx of screens emulates a bustling stock trading floor, listing street artists and graffiti artists and their market line charts bumping up and down alongside various commercial, academic, institutional, and cultural influencers and influences that have coalesced to foster their success.
In this exhibition’s composition of artistic expressions, each artist has the opportunity to tell their unique story through their installations and accompanying texts, reflecting on their journey from the streets to the contemporary art world. “Urban[R]Evolution” is a testament to the significance of Lisbon as a vital city for urban art, with the show embracing a dynamic mix of international pioneers and established/emerging talents from Portugal.
This major exhibition, presented by Everything is New and Underdogs Gallery, invites visitors on a dreamlike, poetic, and moving journey, oscillating between light and shadow, the humor and rancor of the street, expressing the heart of urban art’s evolution. It is an immersive experience into urban art’s origins and possible future, exemplifying a sample of the boundless creativity and diverse voices that have emerged from the graffiti and street art scene.
Our sincere thanks to exhibition participant and famed photographer Martha Cooper for sharing here her photos exclusively with Brooklyn Street Art, and to Vasco Vilhena, one of the exhibition’s official photographers.
The artist presented a video installation addressing the “market” for graffiti and street art, the intersection with art and commerce in a brilliant display.
“This took me to what is my thesis subject, where my work is the centerpiece of an eventual (or questionable) dichotomy between street art and the art market, the evolution from illegal, interventive and subversive work into a continuous institutionalization, mercantilization and commoditization, normalized with the (before pursued) but now consecrated and valuated (street) artists.
All of this materialized in an art industry (or market) of artist-companies, studios, galleries, festivals, fairs, museums, curators, collectors, political and media attention, touristic tours, financialization, etc, as so it is with the art world as a whole. Being this specific show, for its size, importance, where it is, its public, a realization of this “evolution”, or this stage of the urban arts. So I thought of an installation as a self-critique and self-awareness of this stage and present context of urban art (one of which myself and my work makes part), how capitalism kidnaps, agglutinates and transforms its (possible) critique and counter-culture, commodifying, massifying and selling it.”
James Prigoff signed all of his emails with one word in Spanish: “Paz.” (peace)
It was deliberate, intentional, and with that one word, he created a tag for himself that spoke to his commitment to peace on the street and across the world. Looking over his decades of dedication to exploring and documenting, one sees a sincere commitment to understanding and identifying with other cultures and embracing others as brothers and sisters.
Known foremost in the graffiti world for being the co-author of Spray Can Art with Henry Chalfant in 1987, he captured 100,000 photographs worldwide over five decades. His professional sense of curiosity and self-education drove him to persevere in his documentation of the graffiti scenes of the Western US but eventually spread worldwide.
Today we recognize the personal sacrifice and pride that went into that publication or his subsequent publications and honor the dedication. With his efforts and others like him, the graffiti/street art/mural art cultures received much greater recognition and validation. Serious discussion of the contributions of these practices can be directly attributed to the massive platform his work provided the scene.
Along with Subway Art by Chalfant and Martha Cooper, Spraycan Art is annually sighted as a powerful inspiration to thousands of artists worldwide who needed that encouragement to express themselves as artists. That alone is a reason to celebrate his life and be thankful for his work and deep dedication to the culture.
Spraycan Art by Henry Chalfant and James Prigoff and published by Thames & Hudson on September 1, 1987.
Jim Prigoff and Henry Chalfant at Chalfant’s retrospective Henry Chalfant: Art Vs. Transit, 1977-1987 at the Bronx Museum, 2019
It was in the early 1970s “I became fascinated with the political nature of the art in the streets,” Jim wrote in perhaps his last personally written essay and publication here on BSA Writer’s Desk just last month. The inaugural opinion/editorial of the monthly series provided him the opportunity to talk about his life, formal and street education, his observations of artists and movements in culture and politics during the last 7 of his 9-plus decades. A civil libertarian and champion of the rights for the equality of people across the spectrum, he was happy to make “good trouble” even suing the federal government over an unconstitutional surveillance program in the mid-twenty-teens.
An avid observer and analyst, we prized Jim as a friend and confidante because he knew how to connect the dots between larger socio-political movements and to put the art and artists within context. Astutely diplomatic and wise, he advised us on navigation and perspective in this vast creative world of graffiti, street art, and mural – lessons we will not forget. He also shared his theory about photographers being led by “the Graffiti Gods” with a smile and a glint in his eye.
Jaime Rojo, James Prigoff, Steven P. Harrington, 2015, NYC
His empathy was never far from any topic, despite his strident views and opinions. Even during this last year of Covid he wrote to check on us;
“Not an easy time to be shut down in NYC. Hope you are doing OK.”
Only two weeks ago Jim wrote to us with his concern that Gen Z was not getting vaccinated at the rate of the rest of the population and he wondered aloud if street artists were helping to reach out to them on the street.
Less able to travel as freely in recent years, he attended big exhibition openings near his home of Sacramento and Miami and New York – usually with one of his gentle and patient children pushing his wheelchair. Each time he was enthusiastic and opinionated and, well, joyful. Last summer, during Black Lives Matter protests across the country, he was thoroughly following events and their effects on art on the street. He was also eager to share what he found with the world.
He shot photos from the open window of a car driving through Oakland, eager to share what he found – which we published. Jim often commented on our daily postings to us in emails – and we are proud that he shared his writing and photos on several occasions with BSA readers. Always more interested in people than profit, Jim understood our platform and mission better than many.
Our hearts are sorrowful to bid goodbye to Jim Prigoff now, but we are comforted to believe that he is joining his dear Arline, with whom he spent 72 years as husband and wife. An absolute pillar in graffiti, street art, and mural history, documentation, and archiving – Jim was a scholar, an ardent peace activist, an author, lecturer, community activist, a fervent supporter of so many, and a kind person. Our deep condolences to his children, grandchildren, great-grandchildren, his graffiti/street art family, and his colleagues. We are grateful to have called him a friend.
Jim’s last published essay was on Brooklyn Street Art as the inaugural essay for BSA Writer’s Bench in March, 2021:
Selected quotes from hundreds of social media commenters across Facebook and Instagram
“Jim’s good work is done, may he rest in peace.” Henry Chalfant
“Jim was so good to us. He allowed us access to hundreds of rare East Bay photos and couldn’t have been any more generous. Jim loved the East Bay and knew most of the writers by name. His only hope was that his photos would be seen and we intend to make that happen. Rest in peace to a great human being and true graffiti devotee. You will be missed. Much love, Will & Jake” from East Bay Archive
“The coverage Henry and Jim gave to Goldie in Spraycan Art provided a massive worldwide boost to his career and encouraged him to think globally.” Martin Jones
“Pictures that meant so much to so many. Those pictures was part of so many people’s phase of growing up and becoming those who they are today. People such like myself. Thank you Jim.” Tatu Moisio
“Spraycan Art was, is and will remain alongside Subway Art as the Bibles for anyone interested in graffiti. I’m from North-East Scotland, and it certainly had a huge influence in my life.
Not to mention being one of the most stolen books OF ALL TIME!
RIP Jim, and thank you.” Eddie Grady
“A worldwide generation were introduced to a new breed of heroes who became a catalyst to our lives, and for those whose work was featured by Henry, Jim and Martha, their lives were forever changed. Take a moment to imagine a world where your work never existed… … that truly provides an awe-inspiring perspective. A life lived with huge contribution. Rest In Peace Jim!” Gordon Barrett
“We went on a 6 hour tour around Chicago together. Fascinating conversation about art and life, thru the years. Very enriching conversation for a youth of 17. A Gentleman and a Scholar truly. Risen In Perfection.” Tyr Dem
“It’s so Strange. I was just going through Spraycan Art this morning.” Lars Skouboe
“I am saddened by the news of the passing of a champion of graffiti culture.” Gonzo 247
“Spraycan Art introduced us to other graffiti legends in across the country and internationally.” Carlos Tiangco
“This guy gave us kids access to a culture that shaped us, our futures and our world. Thanks James / Jim Prigoff. 1927-2021.” Sunk One
The graffiti community lost an advocate and documentarian yesterday. Thanks for all your years of dedication to documenting us all Jim. He was one of a kind. I’m glad to have known him. Rest well.” Alan Ket
“Rest in Peace James Prigoff — Spraycan Art was the first book I ever looked thru as a teen to learn about graffiti. It is where I saw Lady Pink for the very first time!” Toofly
“This was our culture. What we offered the world. The birth of a culture. A culture that became a world wide phenomenon. Last night one of our documentarian passed. RIP James Prigoff. A great guy who shared with the world through his photos this culture we created. Yo James..
“AND WE DONT STOP!” TKid
“My Heart is still breaking from the passing of our friend and historian, author and photographer Jim Prigoff whom I was in constant communication with until 3 days ago.” Portia Gail McHenry-Ogburn
“This book changed the course of my life forever… as well as tens of thousands of youths across the world throughout the 80’s – 90’s. Thank you #JimPrigoff for your passion and dedication. #JimPrigoffForever.” Revok
“Saddened to hear of Jim’s passing, my condolences to his family and friends.” John “Crash” Matos
“Wow. This is sad… he would stay at my dads house and do you Friday night slideshow sessions with popcorn when he would come to town.
Jim will would always remind me how lucky we are and to never throw food away. This has stuck with me to this day.” Carlos Rolon
“So sad to hear about the passing of one of the greatest – graffiti and street art photographer, author and peace activist Jim Prigoff.
I met him in Los Angeles where he took me on a tour to photograph graffiti. We shared a panel in the Museum of Contemporary Art (MOCA). He supported me so much with my books, contributed an amazing photo of female graffiti artist Reminisce to my Graffiti Woman book and even wrote a foreword for my last book Street Messages.
Through him I ate the American version of coleslaw for the very first time.
He was an amazing and inspirational person. He influenced the whole world with his book Spraycan Art (together with Henry Chalfant), that sparked a main flame for the widespread graffiti fire.
Thanks so much for all the time you shared with me, my thoughts are with your family and friends. May you rest peacefully.
Paz.”
Nicolas Ganz
“I have so many photos and emails from Jim from over the years. This man was a force and driver in the culture. If he was a kid when writing started he would have been a writer for sure. It’s nice to read all the stories about the him. This photo of me holding his book is from the beginning of 2020 when he had a showing in San Francisco. I told him i couldn’t believe after all these years i didn’t have a signed copy from him. He hooked it up in classic Jim style. I salute you to a full impactful life and thank you for helping a lot of writers careers one way or another. Rest in power” Apexer
“Yea man heavy hearts right now. That book man was the west coast bible!” Aaron De La Cruz
“Our dearest Jim.
When we last saw you two weeks ago you said the single most amazing technological advancement (in your opinion) was the ability for photographs to be shared via email. You said that you imagined that it was even more impressive to you than the automobile had been to your parents. Despite your awe of the invention of digital photography and email, you took on this miracle as you did all things you were passionate about, with gusto.
How lucky are we that you lived you in the era of the modern day camera. You took an art form that was inherently temporary (graffiti) and made it permanent. You took an art form that was the voice of an entire generation, who could not find a platform to be heard, and shared their voice with the world. You knew that “Art is power” and you never failed to use your privilege in this world to ensure that that power could be amplified for change.
You are a legend, who left the world a better place not only through your photographs but also simply through your presence on this planet.
To us however, you will always be our Grandpa Jim and our very small world will forever be just a bit sadder everyday now that you are no longer an email away.
This week’s edition of BSA Images Of The Week is heavy with messages, especially on the subject of refugee children and our responsibility to keep them safe. Family Values, as we once heard on a near daily basis here, are apparently not to be mentioned when applied to certain families according to the people pulling children away from immigrants – certain immigrants anyway.
New York streets had people marching yesterday about these families, and our top Street Art image by Ernest Zacharavic features little kids set afloat figuratively. As Mexico elects a new president today, the US Supreme Court looks rightward with Kennedy’s resignation last week. Meanwhile the country will celebrate “liberty and justice for all” this week – and the streets are thick with politics like we haven’t had in a while.
On a practical, art-making level, we have also noticed the prevalence of wheat-pasted posters on the streets this spring/summer. Whether mass-printed or labor-intensive one-off paintings, wheatpasting is a practice that has been a staple since we began documenting the arts on the streets worldwide. We are glad to see that the ‘paster, like the humble one-color stencil, hasn’t lost its appeal in the face of the current fascination with big murals.
Here’s our weekly interview with the streets, this week featuring Adage, AJ LaVilla, Baron Von Fancy, Boutros Buotros Bootleg, C3, Damon NYC, Drsc0, Ernest Zacharevic, Indie184, Jason Naylor, Jeff Henriquez, LMNOPI, Praxis, Simon (Xi An), REVOK, Tristan Eaton, Unapologetically Brown Series, and Voxx.
The wheat pastes above and below remind us of the early works of Faile and Bast…on the streets of Williamsburg. It’s fun to see their influence on the streets today.
Of the thousands of images he took this year in places like New York, Berlin, Scotland, Hong Kong, Sweden, French Polynesia, Barcelona, and Mexico City, photographer Jaime Rojo found that Street Art and graffiti are more alive than every before. From aerosol to brush to wheat-paste to sculpture and installations, the individual acts of art on the street can be uniquely powerful – even if you don’t personally know where or who it is coming from. As you look at the faces and expressions it is significant to see a sense of unrest, anger, fear. We also see hope and determination.
Every Sunday on BrooklynStreetArt.com, we present “Images Of The Week”, our weekly interview with the street. Primarily New York based, BSA interviewed, shot, and displayed images from Street Artists from more than 100 cities over the last year, making the site a truly global resource for artists, fans, collectors, gallerists, museums, curators, academics, and others in the creative ecosystem. We are proud of the help we have given and thankful to the community for what you give back to us and we hope you enjoy this collection – some of the best from 2017.
Brooklyn Street Art 2017 Images of the Year by Jaime Rojo includes the following artists;
Artists included in the video are: Suitswon, Curiot, Okuda, Astro, Sixe Paredes, Felipe Pantone, Hot Tea, Add Fuel, Hosh, Miss Van, Paola Delfin, Pantonio, Base23, R1, Jaune, Revok, Nick Walker, 1UP Crew, SotenOne, Phat1, Rime MSK, Martin Whatson, Alanis, Smells, UFO907, Kai, Tuts, Rambo, Martha Cooper, Lee Quinoes, Buster, Adam Fujita, Dirty Bandits, American Puppet, Disordered, Watchavato, Shepard Fairey, David Kramer, Yoko Ono, Dave The Chimp, Icy & Sot, Damien Mitchell, Molly Crabapple, Jerkface, Isaac Cordal, SacSix, Raf Urban, ATM Street Art, Stray Ones, Sony Sundancer, ROA, Telmo & Miel, Alexis Diaz, Space Invader, Nasca, BK Foxx, BordaloII, The Yok & Sheryo, Arty & Chikle, Daniel Buchsbaum, RIS Crew, Pichi & Avo, Lonac, Size Two, Cleon Peterson, Miquel Wert, Pyramid Oracle, Axe Colours, Swoon, Outings Project, Various & Gould, Alina Kiliwa, Tatiana Fazalalizadeh, Herakut, Jamal Shabaz, Seth, Vhils, KWets1, FinDac, Vinz Feel Free, Milamores & El Flaco, Alice Pasquini, Os Gemeos, Pixel Pancho, Kano Kid, Gutti Barrios, 3 x 3 x 3, Anonymouse, NeSpoon, Trashbird, M-city, ZoerOne, James Bullowgh, and 2501.
Cover image of Suits Won piece with Manhattan in the background, photo by Jaime Rojo.
Here’s our weekly interview with the streets, this week featuring BK Foxx, City Kitty, Dain, Jucer, Nick Walker, Praxis REVOK, Sam Himer, Sheryo, Skount, Smells, The Yok, Turtle Caps, UFO 907, WRDSMTH.
Entitled “Home of the emotional flow”
~from the artist
“This mural depicts the search for a state of emotional flow. The background of our emotional life runs in a way, even to the flow of our thoughts. At the bottom of our consciousness there is always some state of mind although, generally, we do not realize the subtle moods that flow and reflux as we carry out our daily routine.
To achieve the Emotional Flow State, the development of qualities and abilities of emotional intelligence is required. These are; self-knowledge, empathy in order to understand the reactions of others, sympathy, balance, optimism and self-control. The state of flow, is a state in which alone, the person manages to surpass himself in situations that generate internal conflict, and this allows him to develop more activity, thus boosting enthusiasm.
In short, to find a state of emotional flow it is necessary first to delve into the deepest of our inner self, strive to understand the situations and states that generate internal conflicts, in order to achieve a state of harmony with ourselves and our environment.”
Halloween this year is on a Tuesday so its hard for people to know when exactly to celebrate it – we had 20 or so Trick-or-Treaters Saturday night so that tells you the kids vote in this part of Brooklyn.
Of course with the folks we have running the White House, every day feels like Halloween. “Here, I’ll trick you with this POPULIST costume, and my treat will be to take whats left of your middle class chocolate.”
Trick or Trick!
It doesn’t help that Tabloid TV loves the “Zombies on Parade” – they are like sugar addicts dancing for eyeballs and advertising dollars.
But from a Street Art and public performance perspective, New York is a thrill, a regular monster mash! The East Village parade 2017 on Tuesday will have puppets, 53 bands performing different types of music, dancers, artists, and thousands of New Yorkers in costume. Be safe out here ya’ll.
Here’s our weekly interview with the streets, this week featuring Karl Addison, Bifido, City Kitty, Denis Ouch, Don Rimx, Elliott Routledge, Julien de Casabianca, Julieta, Lungebox, Nevercrew, Outings Project, Revok, Sipros, Strayones, and TurtleCaps.
Sculptural Street Artist Strayones tells us that the story represented here is a critique of “how business people and wealthy men are making us step over the edge into the abyss”.
“Dimensional recipe” is a series of three interconnected mural paintings realized in Los Angeles (USA), curated by AnneLaure Lemaitre (FatCap), 2017.
About the work:
This is a work about mankind’s relation with creation, about the mutual influences between creativity and reality and the anthropological loop
that originates from this continuous correlation. It is about the feeling of being part of a system, of being a participant and being able to view it from a certain point of view, for what it is and for what it could be.”
“Disposing Machine” is the new mural from Nevercrew in Melano, Switzerland for Artrust. Their statement:
“Habits, attitudes, principles and awareness are conditioned by reality, and reality is conditioned by the perception everyone has of it. The position of humankind in its environment, in its World, is at the same
time part of its nature and a point of view from which to perceive it.
Systems are then interpretations, a way to give human shape to
something that’s not necessarily made for it, as well as a way to decide
which shapes to give and how to read them. As reality could be built and
altered by systems, so nature could then risk to be detached from
human sensing; an human reconstruction of something that exists
outside this given shape but that still is directly subjected to each action
that’s made on it.”
The Italian Street Artist Bifido and Spanish artists Juelieta completed this fantastical work in Lecce, Italy this week for the 167 Art Project. Bifido tells us that the title is “First Fire” and it “talks about the possibility to love each other in a fantastic way, and it focuses on the importance of play in our lives.”
“I could paint a regular parakeet – something pretty – but that’s not me and anyway Peter would f*cking like this!” says Belgian Street Artist ROA as he talks about his newest gift from the natural world to Brooklyn. A tribute to his friend who lived not far from this spot and who hit the streets with his “Pet Bird” stickers, this new large wall near a subway entrance reminds us of the sudden discoveries we come in contact with when our eyes are open.
This is a city that is in constant movement, undergoing evolutions and revolutions we can’t control and others that we can. As is the nature of Street Art, the entire city can have this temporary, ethereal quality of a moment captured. Coming two years since his friends passing, this important work reverberates through the chests and heads of a community of friends, some as close as family, who appreciate it as a gift of kindness.
The lady who stops by? Not so much. “I don’t really want to see a dead bird on the building,” she says with a long face as she slouches away with shoulders rounded forward in a perpetual state of doom.
It just so happens that the world-traveling ROA is in New York again as part of a new artist residency in the Brooklyn neighborhood that gives it its name – Bed Stuy Artist Residency. While he’s slept on couches and spare rooms and on floors in previous visits over the last decade when here to paint walls or prepare for shows at Factory Fresh and Jonathan Levine Gallery, this quiet brownstone apartment provides a bedroom, kitchenette and a separate studio space with plenty of light, an old decorative fireplace mantel and a small rusty chandelier with tiny skeletons dangling from it.
It’s an unassuming and welcoming environment for an eclectic array of artists who so far have included folks like Judith Supine, Yarrow Slaps, SS Powell, and Lucien Shapiro. Upcoming artists confirmed include SWAMPY, Amanda Marie, Monica Canilao, and Revok.
Established last year by two down-to-earth and ardent Street Art fans, Kathy Kupka and Erwin Bakx, word has spread quickly about this opportunity and they have already completed the planned calendar for all of next year. A warm and spare environment to contemplate some new ideas without the stresses that this city brings to artists, ROA has been planning here for his next big show in 6 weeks – and of course making new work in studio and on walls. The vibe is relaxed and open, yet artists are expected to create new work as well, which ROA compulsively does anyway.
We asked Ms. Kupka about the new residency and how it has been with one of Street Art’s best known and regarded urban naturalists.
BSA:How has the experience with ROA been? How long has he been with you? Kathy Kupka: Its been big fun hanging out w ROA. A lot of beer drinking, rolling smokes, talking & doing art and finding the perfect croissant.
BSA:Did you have the opportunity to see his creative process in studio? What aspect of his work or process did you find interesting? Kathy Kupka:We were so lucky to have seen ROA work! He is a thinker and wise way beyond his years… he definitely makes it all look effortless and easy but in watching him work it is clear how amazingly talented he is.
BSA:Is it a challenge to find walls for an artist to paint in New York? The availability of walls to paint seems to vary quite a lot from city to city. Kathy Kupka:We were lucky that Judith Supine knows everyone and everything and through him we got ROA a fabulous wall on Metropolitan and Lorimer. Thanks to Dr. Phil, for his great love of art and excellent idea of curating his doctors office wall! Dr. Phil not only has excellent taste but is an excellent doctor. You should hit him up if you’re sick!
BSA:We saw a number of people stopping by to comment on the work or ask questions while ROA was painting. Do you enjoy interacting with passersby? Kathy Kupka: Oh yeah! Especially if one of your favorite artists just happens by and you get to meet her – like Maya Hayuk! It is really nice to see people interested in the wall and being inquisitive but so sad that many were unaware of all that was happening around them because they were so wrapped up in their cell phones. I mean a 20 foot long bird didn’t even register!
BSA: This new residency has been a learning experience for the first few months. Why do you think it is important to offer artists opportunities like this? Kathy Kupka: Because who doesn’t want to come to Brooklyn? There are so many amazing artists who don’t have a connection here in NYC and NYC is, let’s be honest, a place you have to see, a place you have to experience as an artist – and we can make that happen! For us it is an honor to be part of their growth, their NYC experience. We also are super happy to provide a homey space in a beautiful brownstone allowing them a place to stop, work their asses off or just be without worry or stress.
Kathy Kupka and Erwin Bakx shown above with ROA in the middle are the co-founders of the Bed Stuy Art Residency. Please follow them on IG @bedstuyartresidency
Neither should one think that we are devolving into a Dystopian nightmare. Not just yet.
A new show at London’s Somerset House is examining the acts and results of so-called urban artists and their relationship to discussions about this imagined polarity.
We ask ourselves if graffiti and it’s variant unsanctioned public art cousins simply are a medium of messaging that runs outside of accepted pathways of delivery? Yes, and so much more.
One one hand some public servants, civic minders, and private real estate owners have their “hair on fire” moments when these actions/interventions/disruptions of the cityscape are portrayed as signs of the utter ruin of civilization. Concurrently, libertarians, anarchists and sundry romantics may present them as a form of self expression, even self empowerment; an act of claiming a voice in the public dialogue heretofore closed to certain members of society.
In the descriptive text for Somerset’s current series providing a full year of space for Utopian thinking, we learn that co-producers Somerset House, King’s College London and the Courtauld Institute of Art are marking the 500th anniversary of Utopia’s formal birth as a concept in writings by Thomas More. The reasoning presented says that because of his texts we are all equipped to imagine that a better world is possible and, thus knowing, “we are empowered to create it.”
Raphael Schacter and the arts organization A(by)P are presenting a portion of this discussion with their exhibit Venturing Beyond: Graffiti and the Everyday Utopias of the Street, just opened. Commissioning seventeen street artists for one’s show is in itself so rare and splendid as to be only in the realm of one’s imagination today. But here they are; new pieces and performances from a healthy spectrum of practitioners on the graffiti/Street Art scene like Shepard Fairey, Swoon, REVOK, Brad Downey, Horfée, and Eltono.
Schacter and company are “arguing against the traditionally-held belief of graffiti as a dystopian movement or ‘glorified vandalism’.” With installation works, in-house residencies, and a wide-ranging program of events that include workshops, talks, films, music and performances, no stone will be un-thrown in this wo/man-made island of inquiry and imagination.
Say A(by)P, “Above all, graffiti and street art act as an alternative voice, whether it is loud and brazen or more subtle and difficult to decipher, which strive to challenge the well-worn systems of society – something which Thomas More’s seminal text also set out. All of the artists will uniquely interpret their ideas on these utopian foundations of graffiti.”
Here are a small series of images from the organizers from Venturing Beyond: Graffiti and the Everyday Utopias of the Street.
Happy New Year to All! Thank you for inspiring us to do our best and to those of you who continue to support our personal art project / cultural examination, we extend our gratitude more than ever.
Begun as an enthusiastic discovery of what was happening in a few neighborhoods in New York, we continued to expand our view into more cities around the world last year and into the history and future of the scene. We also aimed to provide you with a critical platform for examination of the street art/ graffiti / public art/ contemporary art continuum with interviews with artists, curators, collectors, organizers, observers and thinkers in the street, studio, gallery, and museum – trouble makers and taste makers alike.
In the end, it’s your observations and the conversations on the street that are most important. As we begin the year with over 300K fans, friends, and followers on social media platforms and 225 articles on the Huffington Post (thanks HuffPost team!), we feel like we get a valuable good survey of current opinions heading our way daily.
With in-depth interviews, investigative articles, opinion infused examinations, plain celebratory reverie, occasionally silly non-sequitors, and public appearances where we get to meet you, we get a good analytical look at an ever-evolving movement, glittery polish and warts and all.
As the new year begins we take a look back at the top stories chosen by BSA Readers in the last 12 months. Among them are two takeover pop-up shows in soon-to-be demolished buildings, a story about commercial abuse of artist copyrights and the effort to fight back, a street art community’s response to the sudden death of an activist street artist, a Street Art tourist trip, and a few inspirational women, men, and Mexican muralists. Even though we published at least once a day for the last 365 days, these are the most popular pieces, as chosen by you, Dear BSA Reader.
Art Basel has wound up another successful year in Miami and artists, dealers, buyers and sun seekers have departed. In their wake the streets of Wynwood have sustained yet one more onslaught of murals from an international mix of graffiti writers, street artists, and large format illustrators as the Street Art scene’s thick syrup of spontaneity hardens into a slick shell of commercial opportunity. The average working person with two jobs (or no job) may not have noticed that there is a fabulous boom in this economy for some, and the bubbly is flowing all around fairs like this, out into the streets, into the galleries, receptions, cocktails, and celebrity DJ appearances. While it lasts Brock Brake takes BSA readers through the brand sponsored cloud of opportunity and keeps the focus on what made Street Art interesting to begin with; the artists and their work. We think you’ll dig his photos and for the first time here, an essay in his words:
Miami’s Art Basel might be the world’s largest summer camp for artists. Every year, artists, galleries and enthusiasts from around the world come together in one place to paint, party and socialize. With a never ending list of desired activities and events during the week, it’s impossible to see and do it all. And many of the artists whose work towers on the walls of Miami’s Wynwood neighborhood have been there a week or so longer than anyone.
You know you’ve made it to the right neighborhood coming from the airport when all you see from the highway are large murals and roadside graffiti…and you’re most likely stuck in traffic.
Every single street in Wynwood was filled with artists from various parts of the world who all share one goal: to create. Artist like Meggs, Word To Mother, Hush, Spencer Keeton Cunningham, Lauren Napolitano, Aaron Glasson, Pose, Cleon Peterson, Ron English, Rone, Swoon and many others were all present and active.
It was hard not to get distracted by all of their process while walking from event to event. I spent a total of three full days in Wynwood documenting, visiting some walls more than once. It’s impossible to see it all.
When the fairs close around 7pm, the streets of Wynwood and South Beach explode. There are live painting events like Basel Castle and Secret Walls, pop up galleries, live concerts by hotel pools and, of course, The Deuce; South Beach’s best dive bar beehive of visiting artists.
I’m grateful for my annual “camp” reunion trips to Miami. Reconnecting with old friends you haven’t seen in years while making plenty of new ones. It’s fun to see that as the years go by, everyone is just as much a kid as you remember them. You see the same friend throughout the week wearing the same shirt for four days covered in paint, with no shower or sleep. All of these artists work very hard to do what they do and that’s why I do what I do.
In what could be charitably described as a sign that Street Art has entered a new phase of cultural acceptance and appropriation, some creators of art in the public sphere are attempting to lay legal claim to the profit-making that they didn’t necessarily sign on to. In just the last few months a handful of artists from New York, Los Angeles, and Buenos Aires have discovered their murals have been used in fashion, music, and cinema to great effect, but sadly, they say, without their knowledge or permission.
Of course this sort of inspiration/appropriation has been going on for years – if you want to meet models on the sidewalk just move to Bushwick, Brooklyn and you’ll probably accidentally end up in a fashion spread yourself. Here is where countless fashion shoots, video shoots, movie scenes all happen continuously and money is exchanging hands to make it happen – just not for the artists. Usually they are essentially unpaid, uncredited backdrop artists for the edgy “street” fantasies of stylists.
The courts ultimately will have to decide the relevance of these recent claims but the topic does raise fascinating questions about public space, intellectual property, copyright, and the reasonable expectations of the artists once their work is set free into the streets. In these cases the artists had permission and encouragement to create their works and perhaps thousands of images of the works are in existence since the work is made public. The concern here is raised once those images are privatized or pass into the purely commercial world of selling product.
More interesting will be to see if these lawsuits will extend in the future to include the unsanctioned, un-permissioned, acts of vandalism that appear on private property as well. Will artists seek protection from a legal system they actively transgressed? Can the pieces of art placed illegally be re-claimed by the artist when the work is found printed on a lycra bodysuit or embossed on a wallet? If so, how will the artist claim ownership?
Here are just three recent examples of lawsuits reportedly being filed by artists laying claim to the benefits of their work.
Maya Hayuk
Street Artist and fine artist Maya Hiyuk is reportedly suing pop star Sara Bareilles, Sony, and Coach for using her Houston Street wall in New York as a back drop to sell their products.
Hayuk on the left, the wall used in a campaign on the right (Screenshot from New York Post, Page Six)
MSK crew members Revok, Reyes and Steel have filed a claim saying that designer Roberto Cavalli was a little more than just inspired by their collaborative mural in San Francisco when designing a line for his “Graffiti Girls” collection sold through the website. A quick Google search shows that the line extends to clothing, accessories, sneakers, even a phone case and is sold at stores like Nordstom,Neiman Marcus, and online giant Amazon.
Worse, says the claim, “Sometimes, Cavalli added what appears to be a signature, creating the false impression that Roberto Cavalli himself was the artist.”
Street Artists and muralists Jaz, Ever, and Other are suing for copyright infringement because the newest Terry Gilliam (Twelve Monkeys, Brazil) film The Zero Theorem allegedly featured a mural that looks startlingly similar to one they painted together in Buenos Aires about four years ago.
You can actually still see a number of stills from it it on The Zero Theorem Facebook page right now if you like.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. URBAN ART 2014 on Auction
2. Building Detroit – Revok, Nekst, Pose
3. Sheryo and Yok in Indonesia
4. Coachella Walls: Date Farmers by Medvin Sobio
5. Spaik and Libre. Mexico City 2014
BSA Special Feature: URBAN ART 2014 on Auction with Artcuriel
A film by Jérémy Jaoui
This is what it looks like now; a powerful visual documentation and summary of one plainly commercial aspect of this moment in the evolution of graffiti art/ Street Art/ urban art – and its collectability with a growing global artworld fan base. The video follows Artcuriel and it’s personable auctioneer Arnaud Oliveux as the crowd gathers and clinks glasses, listens to speeches, views live art-making and inspects a collection of fine art created by graffiti and Street Artists which will soon be auctioned.
As one observer notes while thumbing through the show catalog “Urban Art is becoming something real!” Now the vulgar rap lyrics that describe sexual acts to a beat which accompanied the visuals of the artists in the gallery are replaced with rarefied classical strings and no percussion when we enter the auction room where commerce takes place.
Excitement in the packed house is palpable and the auctioneer is the entertaining and electrified ringmaster, with poised assistants tensely perched on the telephone with international bidders.
“With an artist like LUDO, Arnauld is being very avant-garde,” says a knowledgeable admirer while we see the piece reach a record price to applause and pieces are placed on the mantel by men in white gloves. “Urban Art is now happening as we wanted it to,” says Monsieur Oliveux to us from his desk.
Well edited and skillfully presented, the film by Jaoui Jérémy gives you a rare glimpse into a world far removed from the street yet inextricably tied to it – where one time vandals become art stars, collectible artists, performers and celebrity endorsers. It’s your call whether it is a celebration or an indictment, and perspectives will vary according to where you sit, but here the elements are all on parade before your eyes and presented in a passionate way.
Building Detroit – Revok, Nekst, Pose
The graffiti and Street Art scene in abandoned Detroit is “thriving like I don’t think we’ve seen in the US for quite some time,” observes artist Pose, one of the few writers/artists who is straddling the street and commercial gallery world. “When you leave something and don’t care about it, we come here.” It’s a rallying cry for painters, a cautionary statement for authorities that encapsulates one of the primary dynamics of the graffiti/street art/public art scene.
But then Pose offers an additional sentiment that gets missed in these often simplified arguments. “We care about it, we’ll paint it all day.”
From MOCA in LA to MOCAD here, where both Revok and Pose have created large scale works, the institutional recognition of the contribution of the art form is remarkable. Simultaneously the freewill act of it a few blocks away from the museum has greater implications from a legal aspect.
Oh no! Complexity to contemplate.
Sheryo and Yok in Indonesia
“Sheryo and The Yok go to Indonesia to learn batik and sculpture” says their description but we think they may already know a thing or two about both. Here they are line illustrating with hot wax, adding a third dimension in clay to characters with phallus noses, and hitting up random walls throughout the city and on the beach with aerosol. Like any good guests, they make sure to credit their hosts here, which is real nice. Oh yes, and there’s a gallery show at Turner Gallery in Purth March 21 – mentioned at the very end.
Coachella Walls: Date Farmers by Medvin Sobio
Hey man, ¿Qué haces? For this Coachella street-art-related event the dude Medvin Sobio is setting the scene again with unscripted social outtakes and interactions are positioned as the main story – and he is framing it with this jukebox music. Yes, this is where The Eagles are national treasures, Marvin Gaye is a nice reminder of a time when singing about the environment could still get airplay, and MJ is always a party starter. Errrbuddy get up!
Spaik and Libre. Mexico City 2014
Part of a commercial gig for a traveling corporate electronic dance music festival, Spaik and Libre knock out a colorful wall while participants pile onto the big lot in DF for the multi-screen festivities.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
\
