After two and a half years of intense filming, editing, and researching, Director Selina Miles will share her story of iconic photographer Martha Cooper on the big screen tonight at the World Premiere of “Martha: A Picture Story”.
A culmination of talents and passion from two great women in the graffiti-Street Art world, the film has been selected to screen in competition at the famed and respected TriBeCa Film Festival in New York City.
In the case of Ms. Cooper, it is a fascinating insight behind the scenes of the life of a person with a determined intellect and uncanny timing. You get a true sense of her focus and passion as she marches above and below the streets and the globe over more than five decades with camera in hand eager to discover and document. Only a director like Miles can tell the story like this, her sixth sense for detail and nuance driving her to the roots of a complex tale, complimented by her savvy ability for precisely timed editing and sound that keeps the viewer on pace for a story that takes many turns.
The first of four screenings (the newest added due to public demand) takes place today at the sold-out premiere.
Click HERE to read our interview with Martha and Selina.
BSA Exclusive Announcement and interview with the director and the star of
MARTHA
A Picture
Story
A
Documentary by Selina Miles
MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)
BSA is proud to announce the world premiere of Selina Miles’ new full-length documentary on the life and career of New York photographer Martha Cooper at the Tribeca Film Festival next month. Separated by four decades and an ocean or two, the Australian film director and the American photographer – each of whom has garnered serious respect in the myriad subcultures of art-in-the-streets with phenomenal storytelling abilities and an innate sense of timing – together land a remarkable film capturing life as a street-shooter, making the multi-chaptered story sing.
It is a fascinating visual sweep that illustrates the unusually gratifying paths that this ever-curious ethnologist charts on the streets (and below them) worldwide since receiving her first camera from her father at age three. The film is a well illustrated collage of a remarkable 70 plus year span showcasing Coopers’ 6th sense for people, urban culture, and burgeoning subculture. Viewers get to see the huge variety of interests she has investigated with amiable warmth and academic rigor – from the Peace Corps in Thailand to tattoos in Japan to graffiti train writing in New York to the daily lives of people in her native Baltimore.
MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)
With ample interviews and vintage video footage never seen before, “MARTHA: A Picture Story” follows Ms. Cooper across continents into the streets, through tunnels and over rooftops to provide illustrative background contexts for her decisions, her driving motivations, and her pure determination to succeed as a professional photographer – despite man-made and societal adversity.
We’ve been very fortunate to see this diamond of a
documentary up close, and we can say that MARTHA is legitimate crowd-pleaser.
MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)
BSA
spoke with Ms. Cooper and Ms. Miles for this auspicious announcement day about
the new movie:
BSA: Your personal and professional history has often been about overcoming challenges and pushing aside barriers. Is there one new challenge you have gone beyond to participate fully in a documentary about you? Martha Cooper: Well like most photographers, I’m more comfortable behind the camera than in front of it especially when speaking. I can’t say I’ve gotten good about overcoming being filmed, but I tried hard to give good footage.
MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)
BSA: One of the challenges of being a doc filmmaker is the number of hats you have to wear – sometimes perhaps feeling like you have to do everything yourself. What did you discover about your preferred role/s on a film? Selina Miles: Making a documentary is certainly a dynamic job and requires a mix of technical, social and creative skills. Learning from a photojournalist with 50 years experience such as Martha has been a wonderful experience. I started my career in video making by mucking around with friends making graffiti videos and shooting street art festivals, and the DIY spirit of both of these art forms really gave me an advantage on this project.
Not all directors know how to shoot or how to edit, but thanks to these early experiences I do know a little about all of these disciplines. Being able to just grab a camera and shoot, or to edit my own little concept videos was very handy in getting the project off the ground. That being said, being able to employ an amazing editor like Simon Njoo and having the mentorship of producers like Jennifer Peedom has also been a dream come true and really helped take this film to the next level.
BSA: With the new documentary many people will learn about a more dimensional photographer than the one they most frequently associate with the name Martha Cooper. Why is this important? Martha Cooper: I’m often called a graffiti, street art, or hip hop photographer but I don’t put myself into those categories. I would like people to understand that the common denominator in my choice of subjects is art in everyday life. I’m always looking for examples of how people are creative in their everyday lives. Graffiti is just one of many different examples.
MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)
BSA: Is there a special approach or formula that one tries to follow when making a story like this for a more general audience. Selina Miles: I think that the interesting thing about this story, in particular, is that it explores a subculture that is so misunderstood by so many people. Everybody has seen graffiti and has an idea of what it is, but I still think that few people really understand why it exists and where it came from. There’s so many tropes and ideas about graffiti and those who practice it that are just plain wrong or oversimplify a very complex idea. It’s been an enjoyable and interesting challenge for me to unpack the facts and rules of this subculture as I see them, and step them out in a way that somebody completely new to the culture can understand and appreciate Martha’s story.
BSA: Your photos capture a time and a moment and a technique of creation, but also often the more atmospheric and cultural energy of the street. What has drawn you time and again to capture this to share? Your own curiosity? Martha Cooper: Not exactly. As you know, I like looking for things and collecting them. Photography is a challenging quest and taking a good photo is the reward. The nature of what I’m questing for can change according to time and place but in general, the world is more interesting to me if I have a camera. The possibility of photographing something makes me look at my surroundings with a keener eye than I would without a camera.
MARTHA: A Picture Story. A film by Selina Miles. (still from the movie)
BSA: Martha stood on the shoulders of feminists before her, yet blazed some paths that were very much her own – frequently without support. What is one lesson a younger person may take from Martha Cooper when they watch this movie? Selina Miles: Marty often says that people today don’t understand what it took to survive as a freelancer in earlier decades, especially as a woman and I completely agree. It’s a common thing that you hear but it’s very true, we are lucky these days to live in a world so connected and relatively accepting of all kinds of races, ages and sexes. That being said, there’s always going to be a frontier, and I hope that young people watching Martha’s story will be inspired to push beyond that frontier in their own way, and not be held back by anybody’s expectations of who or what they should be. And do it all the time with a smile and a sense of humor!
MARTHA: A Picture Story.
Premiering at the 2019 Tribeca Film Festival,
which takes place from April 24 – May 5th. Public tickets will go on sale on
Tuesday March 26 at 11am ET. Tickets are extremely limited and we recommend
purchasing tickets early.
You got furious at us sometimes this year. Or rather, you were mad at artists whose work pissed you off. Thanks for the emails though bro. We still love you of course sister.
Without a doubt the polarized atmosphere in social/economic/geopolitical matters worldwide in 2018 was increasingly reflected in the graffiti and Street Art pieces and projects that we wrote stories about. Loving it or hating it, often BSA readers were motivated to share the story on social media for discussion and to write directly to us to take issue, or even to chide us for “being political”.
Let’s be clear. Art has always been and will always be “political”. We tend to think that the artwork that we agree with is not political because it is expressing our values, opinions, and worldview.
So that’s why you propelled stories about a clandestine Trump cemetery installation by InDecline onto the list this year. That’s why Winston Tseng’s inflammatory campaign against a certain kind of Trump supporter on NYC trashcans proved to be so provocative and offensive to so many people, while others crowed support.
The topic of free speech under fire also attracted high interest for Fer Acala’s story of artists and rappers who took over a Spanish former prison to protest restrictive recent federal laws aimed at protest in that country.
But BSA readers also love the spectacle, the vast animated murals, the scintillating stories behind the art and the artist; the connection that communities and festivals create with art in the public sphere – or in abandoned factories, as it were. The biggest splash this year was the over-the-top creation of and the fiery destruction of an art sculpture at the Falles de València celebration in Spain by Street Artist Okuda. You loved the tantalizing images by Martha Cooper, and somehow everyone relishes the idea of building and constructing a large, colorful, inspiring piece of art and then lighting it on fire in the public square – propelling that story to the top of the BSA list in Top Stories in 2018
Box trucks are a favorite canvas for many graffiti writers in big cities and have become a right of passage for new artists who want the experience of painting on a smooth rectangular surface that becomes a rolling billboard through the streets advertising your name, making you truly “All City”.
When in French Polynesia a few weeks ago with the ONO’U festival, a number of artists were given the significant gift of a large truck or school/commuter bus on which to create a mural, a message, a bubble tag.
Together on the islands of Raiatea and Bora Bora there were about 10 of these long and low autobuses that became sudden celebrities in the sparsely travelled streets, debuted as some of them were in Raitea, when painted live at an all night party for the public.
The Painted Buses of Raiatea and Bora Bora. Continue reading HERE
Ajo Samaritans describe themselves and their mission on their website like this; “Samaritans are people of faith and conscience who are responding directly, practically, and passionately to the crisis at the US/ Mexico border. We are a diverse group of volunteers around Ajo that are united in our desire to relieve suffering among our brothers and sisters and to honor human dignity. Prompted by the mounting deaths among border crossers, we came together to provide food and water, and emergency medical assistance to people crossing the Sonoran Desert.”
Destroying Desert Water Bottles; Chip Thomas New Work in AJO, Arizona. Continue reading HERE
A current survey today from the streets in Copenhagen thanks to a couple of BSA fans and friends who share with readers their recent finds in one of the world’s happiest places, according to the 2018 World Happiness Report. Apparently it is also a good place for gay birds to come out of the closet.
With a storied history of graffiti bombing of the red trains that goes back many years, possibly generations, Copenhagen has long been a treasured destination for graffiti writers.
Now you will also find murals and installations illegally and legally by local and international Street artists – and the iconic full sides of buildings here are subtly transforming the public face of the city.
Copenhagen Diary: A Street Surevey of The Moment. Continue reading HERE
So INDECLINE picked a swell morning to debut their long-planned and complicated site-specific installation at this golf-course in New Jersey.
“INDECLINE felt is necessary to commemorate some of the victims,” they say. “The dates on the headstones correspond to some of the highlights of Trump’s first year in office.” You may remember some of these milestones on the tombstones, you may have to Google others.
The saddest death for us all year has been the civility and respect of Americans toward one another – as those hard working families who are just scraping by are being skillfully manipulated through sophisticated PR / media campaigns into thinking that they are the only real uber-patriots and to hate the wrong people. Most importantly they are fighting and voting against themselves without realizing it.
“Grave New World” Trump Cemetery. Continue reading HERE
Borondo. Utsira. Utsira, Norway. Summer 2018. (photo courtesy of the organizers)
From BSA:
Today we revisit Utsira, the tiny island in Norway that has hosted a few Street Artists over the last couple of years, like Ella & Pitr and Icy & Sot. This year the fine artist and Street Artist Gonzalo Borondo blended into the hills and the forest and the lapping waves, making his spirit dissipate into the community and into a boat.
“There’s a strong sense of community,” he says as he reflects on the metaphor he has chosen to represent his time here on an island of only 420 people, “There is a mutual support among citizens and a common feeling of enjoying the same unique condition.”
Borondo Finds Community on The Island of Utsira in Norway. Continue reading HERE
Equally gifted in the heavier handmade artisanal crafts of porcelain and ceramic as she is with aerosol, Nespoon did installations of both this month during the Emergence Festival in Sicily (Valverde + Catania. The seventh year of this international festival for public art, Nespoon shared the roster with American Gaia and Sicilian Ligama from March 10-26 creating works related to the city and its stories. In many respects these new works appear integral, interventions that belong there, may have been there a long time without you noticing; a sort of netting that holds the skin of the city together.
Nespoon Casts a Lace Net Across a Sicilian Wall. Continue reading HERE
One of the direct actions organized by the platform for fighting against Partido Popular’s civil rights oppression was to film a video clip featuring some of the most renowned lyricists on the scene as Frank T, Elphomega, Los Chikos del Maíz, La Ira, Rapsusklei, and César Strawberry, among others, at the old La Modelo prison. The location is an accurate metaphorical scenario when you are seeing that your liberty is being cut off thanks to laws like ‘Ley Mordaza’.
The song ‘Los Borbones son unos ladrones’, which alludes directly to the Spanish monarchy, includes some excerpts from some of the songs created by rappers serving a prison sentence. The video clip for the song, which you can watch at the end of this article, has become viral and almost all media outlets in the country are speaking about this big shout-out in the name of freedom.
No Callarem. La Modelo Prision. Barcelona. Continue reading HERE
Highlighting collective efforts that advance events during war and the tales of heroism, butchery, resistance, intrigue, and subterfuge that are braided into historical retelling, three Italian Street Artists commemorated citizen resistance and a Nazi massacre in a lengthy mural for the Penneli Ribelli Festival this month in Bologna.
At the center of the story is the resistance by everyday Italians of various ages, genders, and social classes, a movement known as the Italian resistance and the Italian Partisans, or Partigiani. The icon of the festival is a wolf in honor of the Partisan who led the group, Mario Musolesi, whose nickname was “Lupo”, or “Wolf”.
NemO’s, Ericailcane and Andrea Casciu Ride a Tandem Resistance. Continue reading HERE
We knew that these two talented and powerful personalities would compliment each other stunningly and that’s why we encouraged them two years ago to do a doc. A short term one was the original plan. But the two hit it off so well and when you are looking at a five decade career like Ms. Cooper’s and you have the dogged determination to do her story justice, Ms. Miles tells us that even an hour and a half film feels like its just getting started.
Now “Martha” the movie is at a unique juncture in the project and YOU may be able to participate; Selina and the team are looking for any original footage you may want to show them – and it may be used in the documentary.
“Martha” The Movie. Selina Miles Most Ambitious Project To Date. Continue reading HERE
After 25 years writing graffiti, DavidL has found his own way of working. It’s funny because one of the inherent issues about graffiti and street art is visibility. All the trains, the bombing, the tagging…it’s all about being noticed, being every f-ing where. It has been like this since day one (Taki 183, Terror161, 1UP…you know how it works).
But for David it’s not like that anymore.
Maybe it’s a sign of the days that we are living with social media, communication 2.0, etcetera. It’s obvious that if you have certain skills managing all this and a little bit of talent, plus a pinch of good taste, you can reach a global audience and show your work to the entire world even when you are concentrating the majority of your creations in a secret location.
DavidL, Through The Lens of Fer Alcala. Continue reading HERE
This week we have a selection of the UPEART festivals’ two previous editions of murals – which we were lucky to see this week after driving across the country in an old VW Bora.
We hit 8 cities and drove along the border with Russia through some of the most picturesque forests and farmlands that you’ll likely see just to collect images of the murals that this Finnish mural festival has produced with close consultation with Fins in these neighborhoods. A logistical challenge to accomplish, we marvel at how this widespread program is achieved – undoubtedly due to the passion of director Jorgos Fanaris and his insatiable curiosity for discovering talents and giving them a platform for expression.
When I was asked how to name the exhibition few weeks ago, I merged the words “vandalism“ and “Wandel“ (the German word for “Change“). That’s how Wandelism (or Changeism) was born and how it started transforming itself into an exhibition, which is truly accepting, embracing and living CHANGE.
On the grounds of a former car repair shop that is soon to be demolished, one can literally feel the constant movement and transformation of the urban fabric we all live in. Everything changes. Constantly. Change is evolution. Change is progress. Change is also the DNA of the art represented in the Wandelism show.
“Wandelism” Brings Wild Change For One Week in Berlin. Continue reading HERE
The city of Eugene in Oregon is preparing for the 2021 IAAF World Athletics Championships and like many cities these days it is transforming itself with murals.
With a goal of 20 new murals by ’21 (20x21EUG), the city began in 2016 to invite a slew of international Street Artists, some locally known ones, and a famous graffiti/Street Art photographer to participate in their ongoing visual festival.
A lively city that is bustling with the newly blooming marijuana industry and finding an endless array of ways to celebrate it, Eugene has been so welcoming that many artists will report that feeling quite at home painting in this permissively bohemian and chill atmosphere.
“At the end of the day when one is towing the line of being provocative, you may cross that line in some people’s mind but I think if one is not trying to find that line then the work is not going to make any impact”.
Winston Tseng has probably been crossing that line, pissing off some people and making others laugh for a few years now. He appears to consider it an honor, and possibly a responsibility. Relatively new on the Street Art scene the commercial artist and art director has also created his 2-D characters on canvasses and skate decks that depict the abridged characteristics of a typecast to play with the emotions and opinions of passersby.
Winston Tseng: Street Provocatour Brings “Trash” Campaing to NYC. Continue reading HERE
Yes, Street Art is ephemeral, but OKUDA San Miguel just set it on fire!
During the annual Falles de València celebration, it’s normal for artworks to be destroyed publicly in about 500 locations throughout the city and in surrounding towns. Part of a spring tradition for València, Spain monuments (falles) are burned in a celebration that includes parades, brass bands, costumes, dinners, and the traditional paella dish.
This year the first Street Artist to make a sculpture in the traditional commemoration of Saint Joseph is the un-traditional OKUDA, creating his multi-color multi-planed optic centerpiece.
Okuda Sculpture Engulfed in Flames in Valéncia. Continue reading HERE
We wish to express our most heartfelt gratitude to the writers and photographers who contributed to BSA and collaborated with us throughout the year. We are most grateful for your trust in us and for your continued support.
It’s BSA Film Friday! Now we present the best of the year, according to you. We bring you new videos each week – about 240 of them this year. The beauty of the experience is that it can feel quite random and exhilarating – rather like the serendipity of finding new Street Art.
You helped us decide who made it to the top 15 – and we feel proud to see some of these because we liked them too. When we take videos on the road to different cities and countries doing our BSA Film Friday LIVE we also like to share these in classrooms or theaters or lecture halls with locals, students, city leaders. Nothing can beat seeing faces light up, a person thrilled to finally get the sense of something, better understanding the scene, helping people with a new way to look at art in the streets.
The best part is many of these videos encourage you to create, to co-create, to actively participate in public space with meaning and intention. As a collection, these 15 are illuminating, elevating, riveting, strange, soaring, secretly otherworldly, and achingly beautifully human.
Special congratulations go out to artists/directors Kristina Borhes & Nazar Tymoshchuk who landed on the list two times this year, including the number 1 position. Their work is about the intersection of art and theory and life, how to create it, to see it, and how to re-see your world.
We hope you can take some time to enjoy some of the best Street Art videos from around the world and on BSA this year.
“Listen, my only request…. When you’re done doing your thing, do an Italian flag with my daughter’s name on it,” says a guy who is shouting up from the street to the roof where two Hungarian graff writers are preparing to hit a wall with a giant rat in Jersey. That rat looks fantastic as it basks in the blinking glow of the marquee for Vinny Italian Gourmet on the streets in the Newark night below.
That scene alone can stand as their American iconic moment for the US Tapes, but Fatheat and TransOne documented a number of golden moments on their trip this winter to New York, Wynwood, LA, and Las Vegas. Travel with them as they try to square the television mythology of modern America with the one they are encountering in all its ridiculous free-wheeling self satisfied unreflective emotional consumerist funkified freedom*. Standby for sonic blasts from the cultural pulp soundbook and prepare for a celebrity visit.
Slyly they observe and sample and taste and catalogue the insights by traversing the main stage and the margins, smartly not taking it too seriously, finding plenty of places for wide-eyed wonder and wiseguy sarcasm. Steeped in graffiti history with mad skillz themselves, this is all an adventure. Generous of heart, they also share it with you.
“And lost be the day to us in which a measure hath not been danced.”
~ from Nietzsche’s Thus Spake Zarathustra
Every day since the shootings of artists and journalists at the Charlie Hebdo offices on January 14, 2015, dancer Nadia Vadori-Gauthier has made sure to dance for a minute or more. It sounds like a good idea.
“Without editing or effects, in the place and state of mind I find myself that day, with no special technique, staging, clothing, or makeup, nothing but what is there,” she says on her website.
“I dance inside or outside, in public or private places, alone or with others, strangers or people I know, sometimes friends.
I dance as protesters demonstrate, to effect a living poetry, to act through sensitivity against the violence of certain aspects of the world.
This is the solution I found: an action to my own measure, a concrete, repeated action that may redraw lines, disrupt the design, shake up the norms.”
Here she is in Paris on Esperance Street in front of a mural by Street Artist Seth.
All the subversive drama of a terrorist cell, all the color of Mardi Gras, all the pomp and ceremony of an Olympic triathlon. Wielding the long-handled roller like a javelin in the hands of Järvinen, weight lifting multiple backpacks full of paint cans, climbing and jumping walls with speed and dexterity, the 1UP team goes for the gold.
Debuting today on BSA is the flaming new 1UP crew video directed by the ingenious Selina. Slicing the streets with the drone camera like a hot knife through butter, she follows the unruly yet highly organized vandals from overhead in a manner more melodic than menacing as Miles lines up one shot after another in this instantly classic continuous thread of aerosol mayhem.
Passing the aerosol can like a baton, this relay race puts 1UP over the finish line while many rivals would have just blasted out of the blocks. But will those Olympian circles turn into golden handcuffs before the closing ceremony?
A quick overview to catch you up on the 7 most recent pieces attributed to Banksy in Paris. He’s said to be creating work more attuned to the plight of migration, but others have observed it is a return to the classic Banksy sarcastic sweetness that has characterized the clever sudden missives he has delivered since he began. See Butterfly Art News’ coverage here: Paris: Banksy for World Refugee Day
It’s an Italian movie directed by Luchino Visconti in 1960, yes. It is also the name of a crew of Berlin graffiti/installation artists whose satirical interventions play on issues propriety and property – and on social experiments that dupe the media, the public, and banks.
Did they really set up an apartment inside the subway? Is that really the tracks and wall of a metro inside a gallery? Is that Wagner playing in the mobile war arcade set up in the Christmas market? Are those hand grenades being lobbed by children? Is the bank facade blinking red every 20 seconds?
Rocco und seine Brüder (Rocco and His Brothers) have you engaged. Now you have to answer the questions.
The Uruguayan Street Artists/muralist Florencia Durán and Camilo Nuñez are “Colectivo Licuado” and here in the middle of Oviedo in Northern Spain to create a new mural for the Parees fest this September. As is their practice they study the culture that they are visiting and create an allegory that is familiar to the community, if still rather mystical.
In this case they visit Colectivo Licuado & Nun Tamos Toes for a visit of great cultural exchange – sharing sketches, songs, and learning the history of women’s roles in traditional Asturian culture. The resulting mural project is collaborative in nature and powerful in person.
“I pay attention to the intensity of the gaze and the posture, so the passerby is challenged and seeks to question the project.”
A sociological experiment and intervention on the streets by the French Street Artist YZ takes place in Abidjan and camera work in the crowds allows you to appreciate the action on the street. A city of 4.7 million people and the economic capital of Côte d’Ivoire, the city has a lively culture of street vending that is unregulated and often populated by children.
YZ speaks with the folks she meets who are vending, who she refers to as “girls” although many are women. Her goal is to better understand them, she says, and to create a Street Art campaign of their portraits.
“I realized that their situation was very different from the men. So I wanted to know more about them. So I started the project ‘Street Vendors’,” she says.
Chernobyl is a nuclear disaster that figures profoundly into the modern age – and for centuries into the future.
Today not so many people talk about this man-made horror that killed a Russian town and chased out its survivors in 1986 just 90 kilometers northeast of Kiev. Called the most disastrous nuclear accident in history, it evacuated 115,000 and spread a radioactive cloud around the Earth, with European neighbors like Scandinavia, Switzerland, Greece, Italy, France and the UK detecting the effects of radiation for years afterward. Three scientists at The New York Academy of Sciences have estimated that over time the number of people killed by effects from the meltdown was almost a million.
Because of the nature of radiation, Chernobyl has been estimated to not be safely habitable for about 20,000 years.
A short documentary today taking us through last autumns On October 7th in Marseille, France in collaboration with Galerie Saint Laurent and Spanish artist Gonzalo Borondo as they presented Matière Noire. A massive collection of individual installations that took over the top floor of an exhibition space normally used for shops, Borondo’s influence in the selections is throughout, a story told in three acts on Projection, Perception and Interpretation.
“When I was just a baby, my Mama told me, ‘Son, always be a good boy, don’t ever play with guns.’ But I shot a man in Reno just to watch him die.” Johnny Cash sings with some bravado in Folsom Prison Blues on an album released 50 years ago this year. Street Artist Shepard Fairey honors the album and here in Sacramento, California to raise consciousness about the outrageously high rate of incarceration here. “The United States has 5% of the world’s population but 25% of it’s prisoners,” he says, making you question the system in the Land of the Free.
No. 5
MZM Projects – Kristina Borhes & Nazar Tymoshchuk/”Wasteland Wanderers”
This week we feature a couple of new film pieces from the Ukraine based duo of Kristina Borhes and Nazar Tymoschuk which fairly present an insightful treatise on a particular flavor of Post-Graffiti. Think of it as a two volume textbook and your professors will guide you through the darkness into the light.
A Dilogy.
“The place tells you what to do,” is a poetic and truthful phrase uttered in “Night” on the relationship a vandal has to an abandoned factory, school, home, medical facility; it is spacial and alchemical.
It is also personal, says the female narrator. “The presence of their absence,” is something that every Wasteland Wanderer will be familiar with, the knowledge and feeling that others have been there before you. The work is undeniably affected, even created in response.
“I’ve started a new series called ‘On the Road’ which looks at life behind the scenes in street art culture,” Doug Gillen tells us about this debut episode. Look forward to Doug’s unique perspective on Street Art festivals, art fairs, and studio visits as he expands to the world of urban contemporary.
Not typically who you think of as a Street Artist, here we see Add Fuel and Doug talk about his first book and you see examples of work from this tile maker who infuses traditional Portuguese techniques and pattern making with pop-modern cultural references and cartoon archetypes.
He has a hat, sunglasses, and he has been creating huge black and white photo installations of people wheat-pasted to the sides of buildings for how long? Surprising to us that Jetsonorama is not more of a household name in Street Art circles – his work is solidly tied to biography and human rights, uses his own photography, and routinely elevates humanity – and has been doing it for some time now.
Why isn’t he in huge museum exhibitions?
Today we have a new video giving you a good look at the work and the artist along with the genuine connection and presence that he has with community, taking the time to share their stories.
“The speed of ruin is just something else,” says Street Artist Vegan Flava, and it’s an exasperating realization. Extrapolated to thinking about the enormous war industry, and there is such a thing, you realize that pouring money year after year into ever more sophisticated and destructive weaponry only results in broken bridges, buildings, water systems, vital infrastructure, lives.
Construction, on the other hand, can be arduous and time consuming, takes vision, planning, collaboration, and fortitude. Like great societies.
How quickly they can be eroded, destroyed.
But since Vegan Flava is creating during this destructive enterprise, you get a glimpse into his creativity, and sense of humor. Similarly the psychographics of this story and how it is told reveal insights into the artist and larger themes.
“A drawing, an idea on a piece of paper, can swiftly grow into something larger, thoughts and actions leading to the next. But creating something is never as fast as to tear it to pieces. The speed of ruin is just something else,” he says.
No. 1
MZM Projects – Kristina Borhes & Nazar Tymoshchuk /”Aesthetic of Eas”
“We wanted everything to occur naturally in this movie. We wanted to achieve spontaneity,” say film makers Kristina Borhes and Nazar Tymoshchuk about their up close look at graffiti writer/abstract painter EAS. In this new film they have captured the creative spirit in action as unobtrusively as they could, allowing the artist to speak – in a way he never does, they say.
Today on BSA Film Friday we’re proud to debut this new portrait by three artists – one painter and two film makers – to encourage BSA readers to take a moment and observe, inside and outside.
The Director Invites You to Participate in the New Documentary
The rising star film director who has captured and woven riveting narratives of artists and graffiti virtuosos like Melbourne’s Sofles and the ultimate train-jumping outlaws 1UP Crew from Berlin – verifiably raising their respective games and profiles in the process – Brisbane’s Selina Miles has been tackling a graffiti/Street Art juggernaut right before our eyes; a full scale movie-length documentary on famed New York photographer Martha Cooper.
We knew that these two talented and powerful personalities would compliment each other stunningly and that’s why we encouraged them two years ago to do a doc. A short term one was the original plan. But the two hit it off so well and when you are looking at a five decade career like Ms. Cooper’s and you have the dogged determination to do her story justice, Ms. Miles tells us that even an hour and a half film feels like its just getting started.
Now “Martha” the movie is at a unique juncture in the project and YOU may be able to participate; Selina and the team are looking for any original footage you may want to show them – and it may be used in the documentary.
In an exclusive interview director Selina Miles today shares with Martha Cooper fans some unseen images from making the movie. She also gives insights into what it has been like making the biggest movie ever produced about the famed photographer.
Brooklyn Street Art:What gave you the idea to do a documentary about Marty? Selina Miles: As with most of us interested in graffiti, I knew of Marty’s book Subway Art from a young age. We first met at ONO’U Tahiti Graffiti Festival in 2014, and I was immediately taken with her approachable, passionate and vibrant character. In 2015, I had been working on a series called “Portrait of an Artist,” an anthology of 10 minute documentaries profiling artists, and a good friend asked me “Who’s next?.” Martha was an obvious choice.
We both returned to Tahiti the following year for the same festival. Seated around a dinner table with a group of artists, I casually asked “When do you think you’ll be in New York next?” she replied “I’m not sure, why?” I ended up asking her right on the spot if I could make a film about her, in front of the whole group. It felt very much like awkwardly asking out a prom date. Luckily she said yes.
BSA:Is it true that at the start of the project you were thinking of doing a short film? Selina Miles: The following February, I had just finished directing my biggest TV commercial yet, and wanted to the use bigger-than-usual pay check to do an ambitious project. I booked myself a 2 week trip to New York, as well as a ticket for Marcus Autelli, an amazing cinematographer from London. Our mission was a 10 minute piece.
Like so many fans of Martha’s work, I discovered her through the graffiti subculture. I did my best to research before the trip. I scoured Youtube and Vimeo for videos and interviews with Marty, flicked through Subway Art, pored over Street Play, re-watched Style Wars and thought I had done a pretty good job.
When I arrived in New York, Marty met me at her train station, and together we walked to her studio. She gave me a key and pointed me in the direction of her archives. Large folders lined the shelves. I still remember the first time reading those labels, hand-drawn in Marty’s signature authoritative, all-caps handwriting. “Windsurfing.” “Korea.” “Tunisia.” “Israel.” Each one full to the brim with boxes of Kodachrome mounted slides, stamped and dated.
The first person Martha suggested I interview was her good friend Susan, who flew down from her home in Maine to speak to me. It wasn’t until a few days before the interview that I learned that “Marty’s friend Susan” was actually Susan Welchman, photo editor of the New York Post and of National Geographic Magazine for 35 years. I began to learn of Martha’s incredible, rich photographic career, too often obscured behind the monumental popular reverence for her graffiti work.
I realized with a combination of terror and excitement that I was facing much more than a 10 minute graffiti video. That this was the story of a photographer who had shaped entire generations of a worldwide subculture. A woman whose camera had witnessed historical events from the 1960s until now, whose story was deeply entangled with that of New York City, whose work had touched so many lives across boundaries of time and place and culture. And most importantly, a story that was relatively unknown, absolutely begging to be told, and that Martha had put her faith in me to tell that story.
It was then that I realized that 10 minutes wasn’t going to cut it.
BSA: Is there anything call “a typical day” when you are following Marty in her travels? Selina Miles: There is never a boring moment when you’re with Martha. What she has can’t even be described as work ethic, because she doesn’t see photography as work. It is just who she is, and there is nothing else. She will go anywhere, any time, to any extreme to do the projects she wants to do.
That being said, there are certain consistencies in her days. Any time she is presented with a window of downtime of more than 3.5 seconds, she is playing Pokemon Go. When it comes to food, Marty frequents exactly 2 restaurants in New York, both 4 blocks or less from her apartment. In total she has about 4 dishes on rotation, supplemented on particularly busy days by Lunchables, ready-made snack packs of deli meats and Oreos.
It is well documented that many successful entrepreneurs and geniuses keep rigid routines or wear the same clothes every day as a way to save precious cognitive resources for what they really love to do. Marty is no exception. My best tip for anyone lucky enough to share a lunch with her – you have about 30 seconds to decide on your order before her patience runs out.
Marty’s life is chaos wrapped in deeply ingrained habit, on a bed of compulsive, obsessive collecting and photo-taking. An ideal combination for a documentary subject.
BSA:You have unprecedented access like no one ever before to the archives of 50 years. It must to have felt overwhelming sometimes. Selina Miles: Most of my career has focused on making short films where the objective is creating something out of nothing. This project is the opposite. The real challenge is to distill 50 years, 17 published books, hundreds of travel destinations and more than an estimated half a million images into a singular, watchable 90 minutes. In this case, making a good film is as much about what you choose to leave out as what you include.
My team and I have collected archive from every major medium, from Super 8 film, to VHS, to DV tapes, to our own 4K video. We have searched high and low over the 19 months working on this project, and there hasn’t been a week that we don’t discover some essential snippet of the story. Friends and colleagues of Marty have sent in material from South Africa, Prague and Germany. Her ex husband’s basement held over 6000 feet of Super 8 home movies, unseen since the ‘80s.
This constant digging and discovery is anxiety inducing, chasing leads that never end, having nightmares of dusty tapes sitting in a basement somewhere that could unlock all the answers if only I could find them. On the flip side, the elation that comes when you find that perfect piece makes it all worth it.
BSA: Were you able to speak to individuals whom you considered to be close to Martha personally or professionally? Selina Miles: Out of every subject we approached, all but one agreed, the exception being a prominent anti-graffiti policymaker from New York City during the early ‘80s.
I interviewed in 6 cities and had material translated in 4 languages. I spoke to friends and family, peers, cultural commentators, graffiti writers. Each contributor was more varied and vibrant than the last. After the interview, when I would thank each contributor for their time, they would often respond with the same phrase, jumping out at me like a mantra – “Anything for Martha.” It became quite ridiculous how often I heard this exact phrase coming from everyone from kids at the skate park in Baltimore to curators at major New York museums. Access was not an issue on this project.
BSA:Can you share a special insight that you gained one day with her? Selina Miles: I have been inspired in so many ways by this project, but I would say the most significant lessons I took away from the Marty Cooper approach to life would be to take risks, embrace failure, never grow up, and choose your own path in life. Although it takes place in very fantastical world full of weird and wonderful characters, Marty’s story is full of extremely universal, relatable human experiences, failures and triumphs. I hope that in watching the film, each viewer can find their own insights and take home lessons within her story.
BSA:You live In Australia and Martha lives in Manhattan. How do you make a feature film documentary when you have to travel such long distances? Selina Miles: Firstly I am very fortunate to have built a freelance career that allows me to work when and where I choose. I can definitely encourage anybody thinking of making that leap to go for it. Not having a boss that you need to ask for time off makes it much easier. Secondly, being Australian you get really used to working weird time zones and traveling long distances. Modern aviation is a wonderful thing! Get on a plane, fall asleep for 14 hours, wake up and you’re in a different country! How cool is that!
Our world is so connected now, and filmmaking has become infinitely easier than it was for previous generations. Martha Cooper traveled the world photographing for National Geographic before the days of digital photography. She would have to physically purchase, carry, store, develop and print the hundreds of thousands of exposures of film required for one story.
She constantly battled against the physical mass and cost of that medium. This made photography or filmmaking accessible only to those with a formal education and money. We don’t have any of those issues anymore, anyone can walk into a store and purchase a $500 camera and a hard drive and start a career as a photographer or a documentary filmmaker. This project has given me a greater appreciation for how easy we have it now, and for the skill that was required to shoot on film.
BSA:Martha was one of the first documentors of the graffiti scene. What will the audience learn about how Martha first found out that she wanted to document the graffiti movement? Selina Miles: It is my firm belief that I cannot make a film that will do anything for the documentation of early graffiti that wasn’t done by Style Wars in 1983, but I hope that the graffiti community leaves this film feeling well represented, and with greater context of how Martha Cooper became the legend we regard today.
BSA:How can people help you complete your film? Selina Miles: Right now we are wrapping up our last month of post production, and searchin over the last few weeks we have been able to dig for new archival material. If anybody out there has footage of Marty, no matter what quality or how big or small, please send it to me! It might be just the bit that I am missing.
Marty’s story is such an international one, it’s so great to receive clips showing her at work in different locations around the world. Every little bit helps really bring to life the incredible bond that is shared within the graffiti and street art communities.
The slides of early tags were a selection for a chapter in Martha’s book “Hip Hop Files”. “Make Your Mark” was a possible chapter heading she and the publisher eventually decided not to use. It comes from a 1982 anti-graffiti poster Koch put in the subways saying “Make your mark in society not on society.” It became a joke among graff writers, still remembered and quoted today.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. 1UP is Fire in “The Graffiti Olympics”: Selina Directs
BSA Special Feature: 1UP is Fire in “The Graffiti Olympics”: Selina Directs
All the subversive drama of a terrorist cell, all the color of Mardi Gras, all the pomp and ceremony of an Olympic triathlon. Wielding the long-handled roller like a javelin in the hands of Järvinen, weight lifting multiple backpacks full of paint cans, climbing and jumping walls with speed and dexterity, the 1UP team goes for the gold.
Debuting today on BSA is the flaming new 1UP crew video directed by the ingenious Selina. Slicing the streets with the drone camera like a hot knife through butter, she follows the unruly yet highly organized vandals from overhead in a manner more melodic than menacing as Miles lines up one shot after another in this instantly classic continuous thread of aerosol mayhem.
Passing the aerosol can like a baton, this relay race puts 1UP over the finish line while many rivals would have just blasted out of the blocks. But will those Olympian circles turn into golden handcuffs before the closing ceremony?
“GRAFFITI OLYMPICS” Directed by 1UP & Selina. Drone photography by Selina.
Feating @goodguyboris and #BerlinKidz @1upcrewofficial @s__e__l__i__n__a__
1UP . Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP / Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP / Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP / Berlin Kidz. Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
1UP Graffiti Olympics. (image courtesy of One United Power/Selina Miles)
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. ONO’U Tahiti 2017. A video re-cap by Selina Miles
2. Private View: Ian Strange via Nowness
3. Desprestigio by Pejac
4. Bonus Video. What the hell is a “Bomb Cyclone”?
BSA Special Feature: ONO’U Tahiti 2017. A video re-cap by Selina Miles
There is so much going on that you might miss during a mural festival. Aside from the progress of the artists at different rates in various locations around a city, which is a standard expectation, each festival is so unique in its personality and people that you cannot predict what you are likely to see next.
In Tahiti you can expect gorgeous natural beauty, and with ONO’U you can also expect a fashion show, a live projection mapping with the community, a panel discussion, a museum opening, delicious foods, flowers in your hair, and stories about the native people, wildlife, religious customs, colonialism, the value of the currency, and face painting. That’s before the weekend.
Filmmaker Selina Miles takes you up above it and directly streetside, a clear-visioned romantic who sees the beauty and the eclectic nature of our nature. Today we’re pleased to show her wrap up of October’s events in French Polynesia on the islands of Tahiti and Raiatea.
Private View: Ian Strange via Nowness
Continuing the attack on sublime suburbia to gain vengeance on the evil within, former Street Artist Kid Zoom, now Ian Strange, has the funding to do large and elaborate decimations and capture them on film for exhibition. Here is a private view, as it were, of a series of private matters made public.
Desprestigio by Pejac
Prestigious indeed.
A riveting bit of documentary storytelling that leads you to his newest artwork, Pejac takes a glocal story and reveals the folly of man. It happened 15 years ago, and is happening every few days all over the globe while the Earth’s economy is still firmly in the grip of the oil industry.
“This piece talks about the tragedy (of Prestige) that covered the coast of my country (and my region) in black 15 years ago, and whose damages to nature are still visible today,” says Pejac. “I chose this particular case, but want to extend it to all the environmental tragedies that happen on our seas and oceans every few years. Desprestigio works as a dark souvenir of a fact that should not be forgotten: we must, and can, be much better guests on Earth. After all, this work is a message in a bottle.’’
Bonus Video. What the hell is a “Bomb Cyclone”?
We started this week’s Film Friday with Tahiti’s tropical weather and end it with our own Jaime Rojo wading through the snow in New York’s Central Park yesterday for what the news services informed us all was called a “bomb cyclone”. For most of us, it looked like a snowstorm. The blustery wind and the snow and rapidly dropping temperatures meant that many stayed inside and many took the opportunity to see the natural beauty of this whitewashing of the urban environment. Here are a few choice shots Rojo got yesterday for you from right in the middle of Manhattan.
Raitea, or more correctly, Ra’iātea, is the second largest of the Society Islands, after Tahiti, in French Polynesia. A 50 minute plane ride from where we spent a week in Tahiti for the ONO’U Festival, the organizers treated us and some of the artists and documentarians to an additional few days on this island this week.
The experience in this down to earth environment deepened our understanding and appreciation for the history, the sacred sites, and people here – many who have not previously had any interest in so-called Street Art or graffiti- or the current iterations of it anyway. The mainly port town is lush in vegetation with modest architecture, a lot of fresh produce, bare feet, a number of impressive tattoos, coral reefs, brightly colored schools of fish, vanilla beans, pineapples, black pearl farms, and now, murals from Street Artists from New Zealand, Paris, Madrid… Yes, we had the conversations about colonialism, cultural imperialism, hip hop culture, western culture, respecting traditions, giving and receiving. We’ll probably need more.
In the end, the artists thought perhaps more carefully about their work here than usual, sensitive to the audience, wanting to share. It’s this attitude of cultural exchange that inspires us to share them with you as images of our week. With gratitude to the organizers Sarah Roopinia, Jean Ozonder, Sarah’s kind parents, people of Tahiti and Raitea, and to you the loyal BSA reader here are some of the scenes that Jaime shot this week.
Here’s our weekly interview with the streets, this week featuring Akimbo, Charles & Janine Williams (Phat1 and Lady Diva), Kalouf, Marko93, Okuda, and Soten.
BSA was proud to host the first ONO’U Conference on Thursday night to bring alive a somewhat academic experience to the festival for a curious crowd of 175 in the showroom of a local car dealership. The theme of “Personal Genesis” invited our 7 panelists to talk about their unique entryway into the graffiti and Street Art scene, and we were treated to genesis stories, images, and video about all of them.
With Steven P. Harrington, BSA Editor-in-Chief running the panel, we heard from American photographer and documentarian Martha Cooper, Australian film maker Selina Miles, French graffiti writer/ light writer Marko93, Dane graffiti/ fine artist SOTEN, UK graffiti/Street Artist/ illustrator Inkie, Maori graffiti writer/naturist muralist Phat1, and French graffiti writer/ hyperrealist naturalist Kalouf.
With each panelist asked to speak about their start in the graffiti/Street Art/ Urban Art world, guests were treated to stories of discovery and aspirational routes to success that took many directions. Each guest narrated images and videos of their work and illustrated that no one comes to this scene from the same vantage point, yet there are many who With so many panelists it was obvious that the stories could have filled three hours easily, but we kept it to an hour and a half, with questions from the audience being particularly illuminating.
Our thanks to hosts Sarah Roopinia and Jean Ozlander at ONO’U Festival for helping translate to French and then back to English sometimes, and our thanks to all of the talented artists and documentarians who participated.
Today some progress shots – these projects were not completed while we were shooting so you’ll want to go to the Museum Mile today along Bülowstraße (Berlin U-Bahn). The Urban Nation Art Mile (Artmeile) is in full effect this weekend day and night and it will be difficult to pass up on this funhouse performance-packed interactive exhibition that includes single installations in pop-up spaces along the street and in one large car-free area beneath the trains, which roar appropriately over your head.
Also overhead for those who are observant, Isaac Cordal’s small concrete businessmen watch over the proceedings below with guilt, ennui and existential worries . You have to check out Faith XLVII’s multi-disciplinary piece in a pop-up space with powerful video imagery of the sexy uniformity of marching soldiers and the panicked distraught migratory movements of people created in its wake – with fierce and expressive dance performer Manthe Ribane and sound/set direction by Inka Kendzia with Faith. Migration, or immigration, is also directly addressed by an unbending and heavy steel sculpture of a family who are just like yours, and different from yours, facing a wall topped by razorwire.
Evan Pricco and Juxtapoz bring the famous newsstand that has been displayed in 6 locations, including Times Square, now moving into the UN collection. Make sure to look at the independent zines and tags from its many travels. HOTTEA has a splendidly sharp and effervescent takeover of a corner first floor space that illuminates the white box, here comprised of hundreds of hanging yarns in a multiverse of color.
This series of outdoor components feels more like a fair than a museum show, a cross section of works that you may associate with post-graffiti/graffiti/Street Art or any number of related influences without a timeline – cobbling together a hodgepodge illustration of the wide range of influences at play on the street today – attempting to channel the asymmetric energy that it generates.
It is possible that this collection represents a catalyzing of interest in sculpture, as a number of interpreters including Cranio, Ben Frost, and Anthony Lister, are blurring lines with these 3 dimensional expressions of work they’ve done in 2D. How will a general community audience interactive with these – the possibilities seem limitless. Considering the sheer number of authors and performers and documentors and artists and academics and critics on the street right now, you are garunteed to find some intellectual and/or visual stimulation.
As we near the new year we’ve asked a special guest every day to take a moment to reflect on 2016 and to tell us about one photograph that best captures the year for him or her. It’s an assortment of treats for you to enjoy and contemplate as we all reflect on the year that has passed and conjure our hopes and wishes for the new year to come. It’s our way of sharing the sweetness of the season and of saying ‘Thank You’ for inspiring us throughout the year.
Australian filmmaker and nomad Selina Miles specializes in street art and graffiti, and is also in love with music video, documentary, and most people she meets. First making her mark with a series of mind-baking action videos with Sofles a few years ago, Ms. Miles is now a dynamic storyteller. She is just as likely to be shooting artists as she is plundering their histories and connecting the dots of their influences, aspirations. Willing to take creative risks and to push her own limits, look out in 2017 for Selina to craft a piece on one of the biggest documentary subjects whom she’s profiled yet – in a way that only Selina can do.
Image of Charles and Janine Williams
Papeete, Tahiti
October 2016
Photo by Selina Miles
I love this photo because Charles and Janine Williams really embody my hope for the future street artist. I still love graffiti, the more ignorant/illegal the better, but if artists are entering into a community and putting up a huge mural in the context of street art, this is the right way to do it in my opinion.
They worked together on this wall in Papeete, Tahiti as part of a series they are working on, painting different species of birds native to a particular area, particularly focusing on endangered species. The CR on this painting of a Tahitian Monarch means the bird is critically endangered. They collaborated with the local bird watching group, who provided the photos and also attended a blessing when the wall was finished, where Charles and Janine sung a traditional Māori song as thanks.
In my opinion, this kind of deep, genuine engagement with people and place is the future of street art, in contrary to the commercialisation and trivialisation we see from sponsored / branded events. As a film maker, these are the kinds of stories I look forward to documenting in the future.
Every Friday we invite you to stop by and take a look at new videos that have been submitted or recommended or we just tripped over in the alleyway.
We call it BSA Film Friday and it doesn’t exist only online these days – we take the show to lectures in classrooms and museums and festivals to show people what kind of dope, strange, illuminating, elevating, soaring, and pedestrian films are being made about artists working in the public sphere.
We even curated a film program this year for the Magic City exhibition in Dresden, Germany with 12 of the best – and it was our honor to present ‘Live’ there to audiences with those folks last month.
Today we’re giving you the BSA Top 15 Videos from 2016 – the ones that garnered the most traffic and conversation online. We are never quite sure what you will find interesting, so to see this collection of videos all together gives us a good idea that we have some of the smartest and savviest readers !
Included with each one is an excerpt of what we said for the original posting.
“Selina Miles has just directed an epic excursion through the pleasant looking Collingwood and Fitroy areas of Melbourne and the graffiti culture there. The prolific and talented writer Sofles rides and runs center screen on this guided tour of his aerosol stomping ground and this (nearly) one continuous shot drone film is a revelation. Again Miles pushes the documentation category forward, going beyond merely recording toward capturing, creating a sense of drama, certainly poetry.
Omar Musa grabs you with his words before you even know where you are and holds your heart tethered to a string and pulling you along these streets and alleys and back lots. Many times this piece is soaring in its singularity and its sense of collaboration.”
No. 14 Chump for Trump. Ron English x The Sutcliffes
“Seeing the new Ron English mural of Donald Trump in Bushwick, Brooklyn last week we were reminded of the video he released in April with a soundtrack by The Sutcliffes, a Beatles tribute band. It uses footage from Trump rallies and commercials interspersed with illustration and animation in an approachable folky way. Once you go down the rabbit hole of Trump satire and parody videos that have been made in the last year, you’ll find enough to begin a film festival.”
“Risk talks about his evolution from a kid in New Orleans sketching in his notebook at school to getting up with a crew in LA, painting all over public space and property to gain a higher profile and retain the thrill of hit-and-run, and some highlights of his professional career. In route from illegal to legal he developed a reverence for color, form, and technical experimentation and aspirations for museum quality work and large scale public sculpture. Just don’t tag his stuff please.”
“Some simple stencil activism well placed can be very effective. Vulgar, absurd, playful. Call it what you want, but Mathieu Roquigny is the first one we have seen do it. Do not view during your morning donut and coffee.”
“A gorgeously ambient tribute to New York through the eyes of a visitor who takes some alternate routes through the city along with the more obvious ones to capture vignettes of mundanity and of wonder. Rowan Pybus shoots this city poetry as a series of visual stanzas stacked unevenly, accompanied by the occasional Faith47 mural (she has accumulated a few in NYC now) as well as the wistful sound recordings of lemurs by Alexia Webster that melt into the gentle audio cacophony of the street as designed by Jonathan Arnold.
The combined passages allow you to slow down and contemplate the whirring city and a handful of its moments as sweet parenthesis in this run-on sentence called New York. Okay, that’s enough, move along now, no standing.”
“It is funny to see this video stamped with the name “Street Art, Utsira ” because Utsira is an island with about 200 inhabitants off the coast of Norway, and there not many streets. Also, this piece is not on a street.
Regardless, french roof painting couple Ella & Pitr made a trip there recently and squeezed in one of there cuddly characters, who looks like he is on the lamb from the huge childrens story book that he escaped from. Stay tuned for some exclusive shots and reportage on the making of this piece and their upcoming show at the local pub!”
“HERA + AKUT=HERAKUT – a back-to-basics introduction to Herakut today, since new fans are joining the fold and need to become acquainted with a duo that has been on the street around the world for years and has been moving into galleries for a while also.
Here at the white box Corey Helford Gallery in Los Angeles for their “Masters of Wrong” show it is a different view entirely from the street surely, including paintings evenly spaced across white walls as well as an area for a more immersive environment.
Outside, “The wolf that wins is the one you feed” is the Cherokee wisdom they paint on the side of the local high school, and in the commercialization of the Street Art world, we see this enmeshed dichotomy more daily.
Let the softly kinetic paddling of the marimba escort you through their political and social commentary, now more overt and obvious and satirical than ever, as they show you their new show and their new works for exhibition and for sale.”
“Directed by Julia Cave and originally shown on the BBC documentary series OMNIBUS in December of 1976, this was actually the second half of a program that followed a tour through the art gallery scene of Soho.
A hidden gem that surveys the variety of opinions held by citizens, historians, police and front stoop sociologists about the graffiti scene on trains and the streets, the story is measured and inquisitive. It’s without glamour, although there may be guile.”
“Graffiti writers and assorted urban artists have a romantic fixation with the steel monsters that snake through our cities and across the backyards and fields of entire countries. For the urban art culture subways and freights have distinct but overlapping associations with freedom, wanderlust, a daredevil mentality, … and Brazilian brothers Os Gemeos have just created their latest ode to the subway train in Milan – almost as big as any writer’s dream.”
Artist David Choe writes “This trip to Cambodia was not a news trip, we were there strictly to spread the message of love, light, beauty, joy, free expression and creativity. I didn’t realize how many millions of musicians, artists, writers and creative people had been murdered in the Cambodian genocide, so I wanted to bring the best artists in the world to Cambodia, a country that has virtually no murals or street art. Our goal, working through the #IglooHong Foundation, was simple: to spread some light, joy and beauty to a country with such a dark past.”
No. 5
The Restoration of Blu for “Street Art Banksy & Co”
“Part II of a behind the scenes look by Good Guy Boris at the controversial show in Bologna that features art works by BLU and others that were originally not intended to appear in a museum, like most things in museums.
Here we learn about less sexy topics like copyright law and one lawyers interpretation of the realistic expectations of artists when painting illegally and legally as it applies to copyright in Italy and France. We also receive a quick education about traditional and modern techniques for the restoration of works for archival purposes, which is why people will be looking at these things long after you and we are gone.”
“On the occasion of his show last fall at New Image Art in Los Angeles, artist/street artist Anthony Lister had an emotional meltdown. Told with the help of top name graffiti writer RISK, gallery owner Marsea Goldberg, and the artist himself we learn about a tumultuous personal backstory that informs his experience while creating new works on the street and for the show. Especially rewarding in this new short directed by Mark Simpson is an unobtrusive examination of the artists gestural technique, a revelation in itself.
Additionally, the performance artist Ariel Brickman on stage at the show opening is the personification of Lister’s fantasic/heroic/treacherous figures; a spot-on example of his work come to life.”
No. 3
Pixel Pancho: “Teseo e il Minotauro” in Rome
“In a city steeped in art history where every camera shot looks like a classic movie scene you have to be cognizant of the critical analysis that will be directed at your new mural from every Giovanni, Adriana, and Luca who are walking by or hanging out of the window.
These are the countrymen and women of Pixel Pancho so he takes it all into consideration and presents a classic of his own, merged with a steam-punked futurism of robots who are rather romantic in their own way.”
“Narcelio Grud has a track record of transforming public space in an unassuming manner that actually engages people directly. Here is his latest urban intervention – a music box for pedestrians to listen to while waiting for the light to change.”
“Murals have an entirely different function in the urban environment than Street Art and graffiti, although some folks use the terms interchangeably. One of the time-honored functions of a public mural in many cities has been the “memorial mural,” the one that recalls a person or people or a significant event that has impacted a neighborhood, even a nation. Because it is artwork mounted publicly, it can be used as a meeting point for people in a community to gather and talk about it, trading stories and impressions and gaining understanding. At its’ worst, a memorial mural can be superficial or overwrought, moralizing, even stunningly unartful.
Sometimes however, it can provide to a community a sense of pride or history, and it can be empowering. Other times there is a mental, emotional catharsis that takes place with the artwork providing a forum, a safe space to discuss the undiscussible in a public forum or simply to share in a common sense of loss, or experience some sense of healing.
‘It’s not mere decoration, but deals with ethics,’ says Giulio Vesprini as he paints this mural remembering Camp No.70 Monte Urano, a WWII prison camp a mile or two from the sea and Porto San Georgio, in Italy. ‘So it has been very important to me that I could give my contribution.’ “
We dedicate this compilation to the filmmakers who bring so much joy, knowledge and awareness with their artistry and technical wizardry every day and especially every Friday from BSA Film Friday to all of us here at BSA and to our readers. Cheers for a wonderful 2017…
In her latest mural, Faring Purth delivers a powerful reflection on connection, continuity, and the complexity of evolving relationships—a true …Read More »
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
