All posts tagged: Urban Nation Berlin

LADY AIKO Does Her “Martha Cooper Remix” on the Façade of Urban Nation (UN)

October 7, 2021 Artists

We have some special events taking place this month to celebrate one complete year of the career-spanning exhibition “Martha Cooper: TAKING PICTURES”, which we created with the team at Urban Nation Museum in Berlin.

Today graffiti/street artist AIKO talks about her striking new graphic mural for the façade of the museum that highlights and interprets a suite of recognizable elements from Martha’s iconic photographs – a perfect answer to the Martha Remix section of the exhibition inside featuring 70 or so artists “remixing” her photos in their individual styles.

AIKO. Remix with Martha Cooper. Urban Nation Museum. Berlin, Germany. October 2021. (photo © Nika Kramer for Urban Nation)

Later this month we are announcing a collaborative print release worldwide featuring another remix and a countrywide screening in theaters across Germany of “Martha: A Picture Story” with us and Martha interviewed by Nika Kramer at the Berlin opening. At a separate ceremony we also will co-host with Martha and Urban Nation the official opening of the Martha Cooper Library (MCL), a full library facility and research center to be permanently housed in the museum building.

To start off the excitement, here is Lady AIKO herself speaking about her new mural welcoming visitors to see “Martha Cooper: TAKING PICTURES”, now open until May 2022.

Q: Tell us about this mural project for UN.
AIKO: Firstly, this mural is a gift for Martha Cooper in celebration of her big retrospective show at Urban Nation. Martha and I have been friends since 2006. We’ve been partners in crime, so to speak, for the last fifteen years. We have worked on many different projects together all over the world from the United States to Japan to Africa. Martha has taken over 16,000 pictures of AIKO and has archived many of her art projects.

I am honored to be part of this opportunity and working with Urban Nation to allow me to create this epic mural for Martha. The museum facade is almost like fresh skin wrapped around her massive historic exhibition with big love from everyone who was part of this production.

Martha and I have been collaborating on this one; it’s called the “Martha Cooper Remix” whereby I interpret and illustrate her images, create paintings on paper and on outdoor & indoor walls. For UN, I easily imagined us creating a big remix piece on the wall.

To begin this mural mission, I asked Martha what she would like to see on the wall; especially since I wanted to paint based on the classic pictures she photographed in NYC. She suggested several of her favorite pictures such as the one with Lady Pink when she was in the yard with the boys, Little Crazy Legs with spray cans, and the boom box one (which is the most iconic picture and the cover photo of the Hip Hop Files). Also, I included break-dancers Emiko and Frosty Freeze which are popular ones as well.

Based on her selections, I spent time at my studio to illustrate a large-scale portrait in my style and imagined it as the giant invitation banner for her show – as if it were a classic hand-painted movie ad in old Times Square. Since her show runs until next spring, till 2022, I’d love to invite everyone and spread the vibe even to the people who see the mural from the U-Bahn train above.

Q: Can you tell us about you and little background?
AIKO: I’ve been based in NYC since 1997. NYC has been my playground and a huge inspiration. I met many amazing local and international artists, Faile, Bast, Banksy, Ben Eine, Obey, and Space Invader at that time. We were young artists, not famous yet, but we connected with one after another pretty much spontaneously – as if it were destiny. I started working in street art with everyone daily during the early 2000s and I was part of numerous gallery shows, jams, festivals, and museum installations. Being part of the history of street art and the graffiti (urban art) movement is how I got involved as AIKO as well.

… Meeting Martha Cooper was also another magical happening for me. Martha and I met in 2006 when I just started leaving my boys’ crew, working solo and stenciling bunnies on the streets. We became good and hard-core girlfriends and started traveling together. She introduced me to subway art legends and all other kinds of fascinating people and stuff in the world. I feel I’m one of the people who is continuing the history for the next generation.

Q: What do you think about working in Berlin?
AIKO: Berlin is such a memorable place in my personal art life history. I spent lots of time without the Internet and enjoyed every day as a young artist. I made lots of friends and lots of stencils on the street. Of course, I was with Martha and spray-painted my bunny too. I’m so grateful that Urban Nation welcomed me back to town and let me create such a huge piece on the facade of the museum. Thank you so much for everyone’s support.

“MARTHA COOPER: TAKING PICTURES” Curated by Steven P. Harrington and Jaime Rojo is currently open to the general public. Click HERE for schedules and details.

Layer Cake Bring Their “Versus Project” to UN

August 19, 2021 Artists

The brilliant Patrick Hartl & Christian Hundertmark (C100) have been at the graffiti/street art/contemporary art nexus for much of the last decade, delineating the boundaries, and then artfully shifting them.

A multi-year project now welcoming guests at Urban Nation’s Special Projects space in Berlin reveals the imprecision of terminologies and commonly-used nomenclature in this period of hyper-hybridization.

Mick La Rock/Aileen Middel VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

When you consider the volley of influences that bounce and collide on metro cars and street walls and digital screens these days, it makes sense to describe the experimentation now afoot as a dialogue. As the Munich-based duo called Layer Cake, the two artists have been doing exactly that with one another’s art for a half dozen years.

“One begins to paint, the other reacts,” say Hartl and Hundertmark in their recent interview for the UN website. “Thus (we) conduct an artistic dialogue. The marker asks a question, the paint can answers, the brush completes or provokes,” they say, “until both artists agree that the mural is finished.”

It is not an automatic process for graffiti writers to create work this way; as one of the basic tenets of the street, you don’t go over someone else’s work unless you mean to show disrespect or provoke a battle.

Drawing upon an eclectic selection of participants with experience on the street, the two act as curators of the new show called ‘Versus’. The rules are similar to their personal practice – produce a collaborative piece with another artist whose style and references may not match yours directly – with each contributor agreeing when the piece is complete.

The clashing and crashing can be seen on the canvass as each new addition rebalances the abstraction, and not everyone was sure it would work.

Bisco Smith VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

Artist Flavien Demarigny hesitated to participate versus Layer Cake because he wasn’t sure if he could work with their style that often incorporates calligraffiti techniques, he says. “As it is a major ingredient of Layer Cake‘s visual language I wasn’t sure if I was the right fit for it,” he says in a Facebook post.

“Then I remembered this is precisely what collaborations are about: pushing your limits, opening your perception, and create together new horizons. As a result, we started three collaborative pieces and one came out fantastic, which we decided to present in this show. Their choice of sticking to the repetitive pattern of my style was the wise one, so the two vocabularies can interact, as accidents make it unexpected and create the poetry of it.”

Dave The Chimp VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

With 13 different artists passing canvasses back and forth – each adding and subtracting, obliterating and augmenting, they say that at the root of the process was a rule not to consult, but rather, react.

The results fairly wrestle under the constraints, each cutting forward, marking and gesturing and claiming space on the canvass. These works illustrate the tension you may associate with the harshly pounding street in cities, sometimes still glittering insistently despite the struggle.

Usugrow VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

“It is not easy to make an intervention in someone else’s painting,” says graffiti style-writing veteran Mick La Rock of her ingrained hesitancy during the art-making process. “You want to avoid taking the painting over and make it your own style. Every part I added to the painting was thought over at least ten times before painting it,” she says in an interview for the show.

On view in the Special Projects room near the museum, “Versus” is a sharp reminder of the community that joins together on walls and surfaces all over the world. Each style challenges the one next to it, sometimes holds it accountable, other times revealing its true nature. The curators say “The Versus Project is an artistic experiment in communication, challenging dialogue, the struggle for a final form.”

Chaz Bojorquez VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

Wandal VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

Flavien VERSUS Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

Layer Cake. Versus Project. Urban Nation Berlin. (photo courtesy of UN/layer Cake)

PARTICIPATING ARTISTS:

Layer Cake (Patrick Hartl und Christian Hundertmark aka C100), Chaz Bojorquez (Los Angeles / US), Mick La Rock / Aileen Middel (Amsterdam / NL), Sebastian Wandl (München / DE), Dave the Chimp (Berlin / DE), Bisco Smith (New York / US), Vincent Abadie Hafez (Zepha) (Toulouse / FR), Formula 76 (Hamburg / DE), Usugrow (Tokio / JP), Bust (Basel / CH), Jake (Amsterdam / NL), Egs (Helsinki / FI), Imaone (Tokio / JP) und Flavien (Apt / FR).

“The Versus Project” curated by Layer Cake is currently open to the general public at the Urban Nation Project Space. The exhibition will be on view until December 31, 2021. Click HERE to find more information about the exhibition, Covid protocols, and schedule.

Project space of the URBAN NATION Museum, Bülowstrasse 97, 10783 Berlin

EL PAIS : “Martha Cooper: Taking Pictures” in Icon Magazine Madrid

August 18, 2021 Artists

Our thanks to writer Igor López at El Pais for his article about Martha Cooper and our exhibition running right now in Berlin until Spring 2022. Appearing in the Spanish newspaper’s magazine called ICON, Lopez describes the New York social matrix of the 1970s with pithy acuity; one where the city seemed at war on many fronts while various important cultural scenes were germinating alongside graffiti writing and musicians like Afrika Bambaataa, Grandmaster Flash or DJ Kool Herc who were laying the foundations of hip hop as the dominant global culture.

“One of the first measures of Mayor Ed Koch, who had taken office in 1978 to save the city from bankruptcy and chaos, was to put concertina wire around the subway garages to prevent “vandals” from accessing the city at night,” he writes.

Martha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine Madrid

Enter the documentarians who capture the quickly shifting winds of change, like Martha Cooper, and forty years later we have solid evidence of multi-cultures in motion.

“I thought I was capturing a phenomenon unique to the city and that it would disappear in a few years,” recalls Cooper of her now seminal body of photography that captured the birth of many movements. Dryly modest, Cooper doesn’t brag much. “I am surprised and grateful that my photos continue to be of interest.”

Check out this article in print and online, and please feel welcome to Urban Nation on our behalf this fall, winter, and spring!

Martha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine Madrid

Martha Cooper: Taking Pictures. Urban Nation Museum Berlin. El Pais ICON Magazine Madrid

The exhibition, Martha Cooper: Taking Pictures at Urban Nation Museum for Urban and Contemporary Art in Berlin is currently open to the general public. To learn more about the exhibition’s details and schedules click HERE

“Martha Cooper: Taking Pictures” – Financial Times Weekend Magazine London

August 5, 2021 Artists

Our exhibition got a lot of great press and we like to highlight some of the articles once in a while just to remind you that the museum is now open after a long Covid-19 closure.

The Financial Times Sunday magazine did us the biggest favor by printing a multi-page spread about Martha Cooper and our retrospective of her work at at the URBAN NATION Museum – the first major and expansive photo and documentary exhibition of her career.

As the UN Website says “‘Martha Cooper: Taking Pictures’ sets new standards in the museum program. The curators Steven P. Harrington and Jaime Rojo (Brooklyn Street Art) , in close cooperation with Martha Cooper, have created a multimedia exhibition in which artistic works and documentary material are juxtaposed.

*Martha Cooper: Taking Pictures*. Urban Nation Museum Berlin. Financial Times Weekend Magazine London

BSA Interviewed in Graffiti Art Magazine Issue #56 About Exhibition “Martha Cooper: Taking Pictures”

June 21, 2021 Artists

We’re honored to be featured in the new issue of Graffti Art Magazine #56 in an interview about our exhibition at Urban Nation in Berlin right now, Martha Cooper: Taking Pictures.

Graffti Art Magazine: Can you tell us about Urban Nation and about this unprecedented collaboration with Martha Cooper to create this impressive Martha Cooper: Taking Pictures retrospective?

Steven P. Harrington and Jaime Rojo: In Berlin, the Urban Nation Museum has a core mission to educate visitors about the many movements of art in the streets globally. We opened it in 2017 alongside a director, 7 curators, and 165 artists representing five decades and many countries. This first solo show is the museum’s third, presenting a retrospective exhibition of seven decades of Martha Cooper’s photographic career.

Graffti Art Magazine: What narrative do you propose with respect to Martha Cooper’s work through this documentary exhibition?

Steven P. Harrington and Jaime Rojo: The narrative is a world-renowned photographer with roots in ethnology who has traveled the world for 6 decades, shooting peoples’ creativity. Her pivotal documentation of early graffiti and Hip Hop is well-known and cherished, and we want visitors to experience it in the context of a life’s work. The most extensive career survey ever exhibited, it’s culled from Martha’s archives, personal artifacts, and collections. It’s an absorbing display of photographs, black books, ephemera, original works by artists, a video installation, and hundreds of her well-known and unseen shots.

Graffti Art Magazine: What role do you think Martha Cooper has played in the global urban art scene?

Steven P. Harrington and Jaime Rojo: Martha’s unpretentious, revelatory view of a previously hidden subculture unquestionably humanized the practice of graffiti – she gave it a heart and a name. Shooting with the gritty determination of a New York City newspaper photographer, she was also a formally educated and well-traveled ethnographer when she first captured the people, techniques, and graffiti practices. Her photographs from Subway Art with Henry Chalfant made their book the “Bible” of the graffiti writers worldwide for the decades that followed.

Graffti Art Magazine: If you had to highlight one memorable moment of this collaboration with Martha Cooper, what would it be?

Steven P. Harrington and Jaime Rojo: We have two: The first one was our overwhelming sense of discovery during a weekend in her studio – she entrusted us with all her archives, books, ephemera, and artifacts that would eventually help us tell the story of her life. The second one was the Zoom meeting early in the pandemic with Martha and us in New York and Michelle Houston and Reinaldo Verde from YAP in Berlin. After months of trans-Atlantic communications, we virtually toured all ten sections of the exhibition together. Martha loved what she saw, and that’s when we knew the exhibition would be a success.

Graffti Art Magazine: What are your 3 most iconic photos by Martha Cooper?

Steven P. Harrington and Jaime Rojo: It’s hard to choose but we might say
1. Dondi painting at the New Lots Train Yards in Brooklyn. 1980.
2. Subway Art “The Cadets” 1977-1980.
3. Street Play Lil Crazy Legs. Riverside Park, Manhattan. 1983. Hip Hop Files

Berlin’s Urban Nation Re-opens: BSA’s Martha Cooper Exhibition Extended to May 2022

March 15, 2021 Artists

We congratulate our partners at the Urban Nation Museum in Berlin for the re-opening of the museum during these difficult times. We applaud their commitment to the arts and to the institution and the people who they serve, including the artists and the community both local and international. As curators of the critically acclaimed current exhibition “Martha Cooper: Taking Pictures” we are elated to know that more people are going to be able to enjoy the exhibition now extended until May 2022.

*Martha Cooper: Taking Pictures”*. Currently on view at Urban Nation Museum Berlin. Curated by Steven P. Harrington and Jaime Rojo of BrooklynStreetArt.com Berlin, 2021. (photo © Nika Kramer for Urban Nation)

The URBAN NATION Museum will open for you again on March 16. Here’s what you need to know regarding your next visit:

Due to the ongoing COVID-19 pandemic, there are limitations in place. As usual, admission is free of charge. However, access to the exhibition is currently only possible with a time slot ticket reserved not less than 24 hours in advance. Therefore, please book your time slot ticket at least one day before your planned visit to the museum.

BOOK YOUR FREE TICKET NOW

Please also pay attention to the following:

▪️ Visitors will be admitted to the museum only with a booked ticket at least one day in advance via their digital ticket system.
▪️ A maximum of 12 people per hour are allowed to enter the museum. The maximum time spent in the exhibition is 60 minutes.
▪️ All visitors must register on-site with their contact details.
▪️ Access to the museum is only permitted with a medical face mask or FFP 2 mask.
▪️ A maximum of three tickets can be booked per person.
▪️ Guided tours and admission of groups of 5 or more are not possible for the time being.

Urban Nation asks for your understanding of these measures, which will allow them to reopen the URBAN NATION Museum within the framework of the current regulations of the Berlin Cultural Administration.

All information about Urban Nation’s current exhibition “Martha Cooper: Taking Pictures” can be found HERE.

If the Berlin-wide incidence rate rises above 100 per 100,000 inhabitants, we will be forced to close the URBAN NATION Museum again.

Honoring Bravery on International Women’s Day 2021 in Germany and Spain with Amnesty International, Urban Nation

March 8, 2021 Artists

An outspoken opponent of police brutality and impunity and an articulate advocate for those persons made invisible in the increasing feudal city of Rio de Janeiro, Marielle Franco’s shooting brought tens of thousands to the street after her death at 38 in 2018.

Katerina Voronina in collaboration with Urban Nation and Amnesty International “Brave Wall’ project to mark International Women’s Day in Berlin, Germany. (photo © Nika Kramer)

Over the last few spring-like days in Berlin, her portrait rose slowly about the streets, reminding us that her moral courage continues to have an impact today on International Women’s Day. It’s only been a recognized holiday in this German city for a year, says Urban Nation museum director Jan Sauerwald. Franco’s visage is the first to occupy what has been officially identified as the museums’ ‘Brave Wall.’

“Realizing this political mural on the theme of women’s rights together with artist Katerina Voronina is a special moment for the URBAN NATION Museum program,” he says, “To present the first ‘Brave Wall’ in Berlin and Germany on this day in cooperation with Amnesty International puts the project in a fitting context.”

The artist was chosen by a panel made of an equal number of Urban Nation and Amnesty International participants, along with journalist Miriam Davoudvandi. The joint goal on International Women’s Day is clear.

“Women’s rights are human rights and therefore an important part of our human rights work. I am very pleased that the first ‘Brave Wall’ in Germany was designed by a woman, Katerina Voronina, and honors the impressive commitment of human rights defender Marielle Franco,” says Dr. Julia Duchrow, Deputy Secretary-General of Amnesty International in Germany, in a press release.

An illustrationist and motion designer, Katerina Voronina successfully evokes the resolute spirit of fighting for human rights in the portrait of Franco, “With the realization of this ‘Brave Wall’ I had the opportunity to bring a special and courageous woman into focus.” she says.

Meanwhile, in Spain, artist and muralist Marina Capdevila identifies an obvious question about saving only one day to pay tribute to women in this new piece.

“Today, we still are fighting and working nearly every day to be listened to, to be taken seriously,” she laments, reflecting on the sly kind of dismissiveness she feels about her art practice sometimes. “I’m tired of receiving 8 million emails with proposals that offer to ‘give visibility to women,’ ” she says.

“If we continue like this, will we also eventually only work one day a year?”

Until such a day, she’s loving life as a painter and savors the sisterhood that brings her support and opportunity. “I am fortunate to have wonderful women in my life who inspire me, help me, and above all, make me laugh.”

Marina Capdevila. *“365 Dias Luchando”* (photo courtesy of the artist)

BSA HOT LIST: Books For Your Gift Giving 2020

December 16, 2020 Art Book Review, Artists, Street Art Book Review

It’s that time of the year again! BSA has been publishing our “Hot Lists” and best-of collections for more than 10 years every December.

In this year that has been so heavy and difficult for many of the BSA family we thought it would be inappropriate to do things the way we always do, out of respect for this moment. The one list that we feel good about this year of course is our shortlist of some of our favorite books from 2020 that you may enjoy as well – just in case you would like to give them as gifts to family, friends, or even to yourself.

From BSA:

Crossroads, the new monograph from Alice Pasquini is full of the young daring and confident girls and women whom have been traveling with her since she began painting walls around the world two decades ago.

Rendered in aqua and goldenrod and midnight, withstanding winds and rains, these figures are willing to be there as a testament to the daily walk through your life. A survey and diary of her works and experiences, her style is more human than international in its everyday appeal, advocacy gently advanced through the depiction of intimate personal dynamics and internal reflection.

Perhaps this quality alludes to the invitation of interaction, the ease of integration with the public space in a way that the cultural norms of her Italian roots influenced her.

“In Rome, where I grew up, everything is urban art. Any little fountain or corner was made by an artist. And there were always a lot of expressions of freedom in this city,” she says in an interview here with writer Stephen Heyman.

Alice Pasquini “Crossroads” Drago Publisher. Rome, Italy, 2019

From BSA:

Bill Posters knows his street art and activism history.

From Beuys’ practice of ‘social sculpture’ and John Fekner’s blunt upbraiding of urban planning hypocrisies to AIDS activists using street art to shame government homophobia and the paint-bombing of a Mao portrait that led to the arrest and torture of the artists/activists for counter-revolutionary propaganda, he’ll give you a solid foundation on precedence for this rebellious art life in “The Street Art Manual.”

He also knows how to yarn-bomb.

And myriad other techniques for freelance intervening in city spaces that you own, that all of us own, but which are often commandeered for commercial messages, political propaganda messages, or commercial-political propaganda messages – otherwise known as fascism.

“The Street Art Manual”; Rebel Artivism and Good Manners with Bill Posters

The Street Art Manual by Bill Posters. The Street Art Manual new US on-sale date is now Sept. 8th. 2020. Published by Laurence King Publishing Ltd. London, UK. 2020.

From BSA:

Taking a decade long view of your creative life can be astoundingly instructional if you are brave enough; perusing over the body of work that you have taken with eyes focused and blurred may reveal broad outlines and finer features of a creative life-path – a psychological mapping of the inner world and its outer expression with all its impulses, longings, expressions of received truths and newly discovered wisdom.

Franco Fasoli aka JAZ has looked over his last decade (2009-2019) of work as a street artist and fine artist and offers you the opportunity to examine his public and private side as well in this new two-volume compendium. Painting on the streets since the mid-nineties and his mid-teens in his hometown of Buenos Aires, the visual artist knew his path would be a creative one. His family and role models, comprised of well-schooled artists and educators, had provided a foundation of critique and appreciation for him to build upon from the earliest years.

Artist Franco JAZ Fasoli Goes “Publico Privado”

Franco Fasoli. Privado. Publico Privado. Jaz Franco Fasoli. 09-2019

From BSA:

Belgium’s ROA, whom we have featured in perhaps 30+ articles, put out his “CODEX” monograph this spring, and while sitting inside your lockdown we thought you would enjoy freeing your mind to travel the world with him.

A gypsy by nature, a naturalist by practice, he has investigated and heralded the animal world, complete with its heartless savagery. Accurately depicting many of the most marginalized and endangered specimens, this uncanny portraitist spooks you with the scale of his animals, draws you in to their presentation without guile.

Willing to let his work do the talking, ROA is still anonymous after more than a decade on the global street art stage. Following his own path, we recognize his achievements here, and wish him good travels wherever he goes.

ROA “CODEX” Reveals His Wild World Wanderings

From BSA:

In addition to lush photo spreads of Martha’s documentation over 6 decades, we have essays written by art critic, curator and author Carlo McCormick, UN Executive Director Jan Sauerwald, author and photographer Nika Kramer, author, curator, and Hip Hop historian Akim Walta, National Geographic chief photo editor Susan Welchman, curator of prints and photographs at the Museum of the City of New York Sean Corcoran, and the curators of this exhibition Jaime Rojo and Steven P. Harrington.

The hefty hardcover, a richly illustrated and modernly designed book, is timed for release simultaneously with the exhibition opening this Friday, October 2. In addition to the essays, we have 40 quotes about Martha from her peers, artists, authorities in photography, folklore, graffiti, and Hip Hop, along with long-time friends and her family. The cover of the book features a photograph rarely seen of graffiti writer Skeme train surfing in NYC taken by Martha in 1982. The introductory texts to each of the 10 sections are written by author and curator Christian Omodeo.

“Martha Cooper: Taking Pictures”

Published by Urban Nation Museum Berlin & Steven P. Harrington and Jaime Rojo.

From BSA:

To accompany the exhibition “Writing the Future: Basquiat and the Hip-Hop Generation” at the Museum of Fine Arts in Boston, a substantial catalogue has been released to support the show and place the artist in context with his time as well as his influence on the future as it pertains to contemporary art and so-called art in the streets.

Accessible and erudite, the catalogue unpacks the social connections, the various emerging music, art, and performance sub-scenes of “Downtown” and “Uptown” New York culture, the opaque underpinnings of the dominant culture, and the urban syntaxes that formed this young Brooklyn artist and his work in the 1970s and 1980s. To faithfully set the stage for this story; to conjure the atmosphere, the moment, the context that Basquiat evolved himself into, you would need to create an interactive urban theme park with an impossible set design budget, a cacophonous sound-music map, a handful of public policy and political advisors, an anthropologist, a warehouse of costumes, too many actors, too many attitudes, and even more drugs.

Writing the Future: Basquiat and the Hip-Hop Generation. Published by MFA Publications on the occasion of the exhibition currently on view at the Museum of Fine Arts, Boston. Edited by Liz Munsell and Greg Tate with contributions by J. Faith Almiron, Dakota DeVos, Hua Hsu, and Carlo McCormick.

“Writing The Future”: Basquiat , Broken Poetics, and the NYC Cultural Context

From BSA:

With precision and guile Sandra Chevrier has painted a female world that is sophisticated, unreachable and appealing, whether painted on canvas, street mural, or stuck to a wall in the margins of a city. The characters who are punching and pouncing and swooning across her faces are reflective of her own hearts’ adventures, seamlessly rolling and intermingling with those epic storylines and dust-ups with superheroes and villains of yesterday.

Perhaps it is because of this sense of inexactly placed nostalgia, in “Cages” we are aware of the ties that bind us, the roles that we hold – whether chosen or imposed – and we’re rooting for these Chevrierotic women to win – as they scream and cry and swing for the rafters, looking for the way out.

“A dance between triumph and defeat, freedom and captivity, the poison and the cure,” stands the ambivalent quote on the page facing her black and white photo by Jeremy Dionn.

A closeup of her face, her hand horizontally obscures the lower half, her index finger raised to allow Sandra to see, to study and assess. Without question this artists’ work is more than autobiographical – these expressions offer a stunning sense of mystery, an understanding at the precipice, an adventure-ready to occur.

Sandra Chevrier: Cages. Published by Paragon Books and designed in San Francisco, CA. by Shaun Roberts. August 2020.

Interview with BSA By Urban Nation Museum (UN), Berlin

December 2, 2020 Artists

The new exhibition “Martha Cooper: Taking Pictures” is on view at the URBAN NATION Museum – a six-decade retrospective of Martha Cooper’s photographic work. Through photographs and personal objects, artifacts and ephemera, the exhibition traces Cooper’s life, from her first camera in 1946 to her current reputation as a world-famous photographer.

The most extensive career survey ever exhibited, “Martha Cooper: Taking Pictures” is curated by Steven P. Harrington & Jaime Rojo (BrooklynStreetArt). For over a year Harrington and Rojo poured over thousands of photographs and hundreds of artifacts, memorabilia, and archives, working closely with Martha to ensure an accurate and complete presentation of Cooper’s career and to make certain the exhibition will appeal to a wide audience as well as her ardent fans equally. In an interview the two acclaimed curators talk about the challenges of planning a new exhibition and their relationship with Martha Cooper, giving a rare insight into the work of a curator and providing an inside look at selected highlights of the exhibition.

PROJECT M/7 “PERSONS OF INTEREST,” A SHOW CURATED BY JAIME ROJO & STEVEN P. HARRINGTON OF BROOKLYN STREET ART AT URBAN NATION BERLIN, IN MARCH, 2015. Photo © Nika Kramer

Steve and Jaime, you have been working as curators, writers and bloggers for many years. Please take us back to the beginning of your careers. How did you meet and when did you decide to work together as a team?

We met in the 1980s when we both came to New York as university students and we have been actively involved in a wide range of projects in the arts separately and together for the last three decades. From “Low” to “High” art, we’ve always relied on the intelligence of the street-based subcultures to tell us the future, and we’ve each found that a fully immersive approach is the best way to understand everything from aesthetics to the humanities to music to movements in media and popular culture. We also discovered that as a team we are both determined to do it 100%.

In the late 1990s and early 2000s we became captivated by the new wave of art on the streets in neighborhoods like Williamsburg, Brooklyn, where a booming artist community was reimagining and remixing cultures in the wake of radical economic shifts that were forcing the young creative communities off the island of Manhattan. Primarily art school students of one kind or another, these artists were using the platform of the New York streets to bypass a rigid gallery system and other “gatekeepers”– and they were of course influenced by the collective legacy of graffiti, pop culture, decades of being drenched in advertising, and the dawning of the Internet age. Not content to simply imitate graffiti culture, they were reinterpreting, reinterpolating, when translating concepts, techniques and history learned in formal education.

In short, it was the dawn of street art as we knew it and we were lucky to be living as artists/curators at one physical epicenter of it. Our neighborhood and social and professional circles included loosely organized groups of artists and collectives who created art parties and mounted interactive events in empty factory lofts or on rooftops or in basement speakeasies; art shows, theatrical events, djs, projections, video, performance, fashion, new music and a new merging of technology. We too were throwing loft parties and staging art events and performances, sometimes for hundreds of people, and it all seemed perfectly normal that art was spilling out into the streets as well.

These were all influencing factors that led us to self-publish our first street art book in 2006 with Steve’s words and with Jaime’s photographs of works by artists in our neighborhood. It was called Williamsburg Street Art: Unrestricted and it featured artists like Swoon, Faile, Banksy, Bäst, Shepard Fairy, Dan Witz, and DAIN – all of whom went on to show with major galleries and some who have had huge exhibitions in museums worldwide with great commercial and critical success. When we secured a proper publishing arrangement for our second book Brooklyn Street Art (Penguin/Random House) we started a small website to support it in March of 2008 under the same name. That first month we had 54 hits on the site. Later we would pass 100,000 per month.

Click Here for the full interview with BSA at Urban Nation

Click HERE to continue reading the interview at Urban Nation Museum For Urban Contemporary Art Berlin.

Martha Cooper “I Don’t Scare Easily” – ArtNet

November 24, 2020 Artists

We’re featuring a great interview today from Martha Cooper – whose career retrospective we curated this year at Urban Nation in Berlin. We particularly love the title. Because its true.

‘I Don’t Scare Easily’: Martha Cooper on Crawling Her Way Through Train Tunnels to Become One of the Leading Photographers of Graffiti – on tArtnet

“In a photography career that spans six decades, Martha Cooper has broken boundaries and defined genres. She became the first female staff photographer at the New York Post in 1977 and shot seminal images of graffiti and the burgeoning hip hop scene during its infancy.

Now, Cooper is being honored with largest retrospective of her work to date. “Martha Cooper: Taking Pictures,” opening this weekend the Berlin’s Urban Nation Museum for Urban Contemporary Art, charts the artist’s photography, from the pictures taken with her very first camera, which she got when she was in nursery school, in 1946, through the present day.

Curated by Steven P. Harrington and Jaime Rojo, founders of BrooklynStreetArt.com, the show includes images from Cooper’s many books, which feature such as bodies of work as her photographs of women’s breakdancing competitions (We B*Girls); of traditional Japanese tattooist Horibun I at work (Tokyo Tattoo 1970), and the streets of gritty 1970s-era New York City (New York State of Mind).”

Martha Cooper in the Martha Cooper Library at Berlin’s Urban Nation Museum for Urban Contemporary Art. Photo Nika Kramer/Urban Nation Museum for Urban Contemporary Art.

“But it was graffiti that inspired Cooper’s best-known work, immortalized in the 1984 book Subway Art, which she published with fellow photographer Henry Chalfant. Cooper was drawn to the tracks by the desire to save for posterity these fleeting artistic creations, which were unlike anything she had ever seen.”

CLICK HERE TO CONTINUE READING THE INTERVIEW AND ARTICLE WRITTEN BY Sarah Cascone for ArtNet.

Martha Cooper, *180th Street platform, Bronx, NYC* (1980). Photo ©Martha Cooper.

“Martha Cooper: Taking Pictures” at the Urban Nation Museum for Urban Contemporary Art, Bülowstraße 7, 10783 Berlin. Check the museum’s website for details and hours of operation.

“Martha Cooper: Taking Pictures”. Installation and Opening Night Shots.

October 6, 2020 Artists

Fully booked and fully celebrated, the weekend long celebration of the Martha Cooper career retrospective opened with great success and great reviews as it has been heavily covered by media in print, online, and radio. Because of Covid restrictions the museum can only accommodate a certain number of guests at a time but so far all tickets have been claimed each day. Please be sure if you are going to grab a free ticket online at Urban Nations’ website.

We wish to extend a heartfelt thank you to photographer and BSA collaborator Nika Kramer for sharing her photos with us.

*Martha Cooper: Taking Pictures*. Urban Nation Museum For Urban Contemporary Art. Berlin. (photo © Nika Kramer)

*Martha Cooper: Taking Pictures*. Urban Nation Museum For Urban Contemporary Art. Berlin. Mick La Rock and Falk. The Livestream hosts. (photo © Nika Kramer)

*Martha Cooper: Taking Pictures*. Urban Nation Museum For Urban Contemporary Art. Berlin. Stiftung Berliner Leben President, Dr. Hans-Michael Brey, Urban Nation Museum Executive Director, Jan Sauerwald and, Gewobag CEO, Markus Terboven. (photo © Nika Kramer)

*Martha Cooper: Taking Pictures*. Artist and photographer Petra Branke. Urban Nation Museum For Urban Contemporary Art. Berlin. (photo © Nika Kramer)

*Martha Cooper: Taking Pictures*. SETH Mural inspired by one of Martha’s Photos from her book Street Play. Urban Nation Museum For Urban Contemporary Art. Berlin. (photo © Nika Kramer)

BSA Film Friday: 10.02.20

October 2, 2020 Artists, BSA Film Friday

Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :
1. “Martha Cooper : Taking Pictures” Opening Night in Berlin at UN
2. Behind the Scenes home video from Nika Kramer

BSA Special Feature: “Martha Cooper : Taking Pictures” Opening Night in Berlin at UN

The exhibition is open!

Our sincere gratitude to Martha Cooper and all of the team who worked so hard to make this event happen at Urban Nation Museum (UN) in Berlin during this difficult year of Covid. We will thank them more in detail soon, but for now please enjoy the official LiveStream of “Martha Cooper: Taking Pictures”, directed by René Kaestner and his A-1 team at Red Tower Films, along with our eloquent hosts, Mick La Rock (Aileen Middel) and Falk Schacht .

“Martha Cooper : Taking Pictures” Opening Night in Berlin at UN. Behind the scenes footage via Nika Kramer

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