Sabe KST officially has the best blackbook, and here it is…

July 29th, 2015 | By | No Comments »


For me, one of the most interesting writers in contemporary graffiti is Sabe KST. I have to give Faust credit for really turning me to on Sabe’s work, although I doubt that Faust realized he was introducing me to a writer whose work perfectly matched up with what I’d been interested in seeing from contemporary graffiti.

Credit goes to Evan Roth for introducing me to the idea that graffiti is a series of hacks. Graffiti is about re-purposing tools as much as re-purposing space. But modern graffiti writers have access to 1000 tools custom-made for them. Sabe not only continues the art of hacking together your own graffiti implements, but he brings that same energy and ingenuity into his legal work. For his paintings and drawings, Sabe creates custom motorized tools that give him an aesthetic that other artists can’t match, because they don’t have the tools to do so.

With his latest project, Anime Blackbook, Sabe has combined old-school animation with digital art and video art, something else I love to see from writers and street artists. Just watch:

Is that not one of the best possible digital displays of tags? Anime Blackbook works for the same reason that INSA’s GIF-ITI is so popular. It’s an eye-catching way to activate graffiti in digital space of endless scrolling. Actually, Sabe should probably convert each tag into a GIF.

Of course, Anime Blackbook is reminiscent of Graffiti Markup Language (GML)/#000000book/KATSU’s FatTag Deluxe and associated projects from F.A.T. Lab. In fact, I was surprised to find out that Sabe hadn’t simply used GML to capture everyone’s tags for this project.

Regardless of the underlying technology, which is what those F.A.T. Projects were really about, Sabe’s video is a new favorite of mine. By simply adding some music and cool backgrounds, he captures the unique vibes of each writer in the video, something that a tag on a blank background can’t do unless you’re acutely attuned to the intricacies of graffiti. The pairings are perfect. For the writers I know, they make sense, and for the writers I don’t, they immediately tell me something extra about them. Pixote’s tag makes sense on a rocky cliff. Sabio’s tag means something different against a forest. Of course Faust’s tag is set against skyscrapers, and KAWS’ name appears on some ethereal starscape. The idea behind Anime Blackbook is relatively simple, but so many good ideas are. With this piece, Sabe has captured something about writing and the people who write, and any fan of graffiti should be able to appreciate that.

For more about Anime Blackbook, check out Animal’s brief interview with Sabe.

PS, the full list of writers included in the video is… JOZ, EASY, VEEFER, CES, SKUF, RIME, VIZIE, NEKST, WANE, JEST, SACER, ARK, NOV, SYE5, PIXOTE, SABIO, KADISM, RASAD, END, AMUSE126, SEGE, HOUND, KORN, DCEVE, SNOEMAN, CINIK, FAUST, YEAR, REHAB, AKS, REMO, NEMZ, FORES, SHAUN, GUESS, REAS, ESPO, KAWS, LEWY, ADEK, MALVO, KATSU, DAYS, GUNS, OPTIMIST, RESQ, BEGR, PEAR, ZOMBRA, PHAT2, UDON, NUNO, FANTA, TOM246, WANTO, QP, VERY, and SABEKST. Also, the film was produced by Sabe KST with animation direction by Celia Bulwinkel and a soundtrack by Trouble Andrew/Gucci Ghost.

Screenshot from Anime Blackbook by Sabe KST

Category: Videos | Tags: , , , , , , , ,

Saber: Bull in a china shop

July 7th, 2015 | By | No Comments »
"TOO MANY NAMES" by Saber at the Long Beach Museum of Art

“TOO MANY NAMES” by Saber at the Long Beach Museum of Art. Photo courtesy of Saber.

Last month, “urban contemporary art” came to Long Beach, California. Thanks to Pow! Wow! and ThinkSpace Gallery, the Long Beach Museum of Art is currently hosting Vitality and Verve: Transforming the Urban Landscape, an exhibition of talented and famous painters like Low Bros, Meggs, Andrew Schoultz, Saber, and Audrey Kawasaki. It was supposed to be a show about painting with artists “demonstrating the skilled and nuanced application of their craft,” and, for the most part, the works in Vitality and Verve are well-painted and beautiful. Except for one. Saber’s installation. Read the rest of this article »

Category: Gallery/Museum Shows | Tags: , , , , , , ,

It’s the law link-o-rama

July 6th, 2015 | By | No Comments »

Chip Thomas aka Jetsonorama mural in Bushwick.

Coincidentally, today’s links all revolve around the law…

  • It looks like Starbucks ripped off Maya Hayuk‘s work, and now she’s suing. You might be thinking, “Is Starbucks really ripping her off, or are there just some similarities? A coincidence isn’t impossible. Just try Googling ‘abstract geometric bright colors’ and see what pops up.” Except that ad agency 72andSunny contacted Hayuk to license her work for a Starbucks Frappuccino campaign, and she declined their offer. Now, work remarkably similar to Hayuk’s is appearing in Frappuccino ads worldwide. Plus, Hayuk cites specific paintings of her’s that the campaign rips off. So yes, clearly Starbucks and 72andSunny are in the wrong here morally. Legally speaking though, does she have a case? Wired has a great article on the uphill battle that Hayuk faces.
  • The Detroit police want to arrest Shepard Fairey for some wheatpastes that he allegedly put up back in May.
  • There is now a second 5Pointz lawsuit. This time, specific artists are suing the 5Pointz property owner for whitewashing their work. Now, we could argue whether or not those individual murals on 5Pointz qualify for protection under the Visual Artists Rights Act (an important question that this article covers in detail), but there’s a larger issue here: With this lawsuit, the artists are shooting themselves (and muralists in general) in the foot. I’m now disinclined to work with any of the artists in this lawsuit, and I suspect others will be too. I don’t want to tell a property owner, “Here’s a great artist who will paint a stunning mural for you, but if you ever remove the mural, they might sue you.” And if I’m a property owner and I hear about this lawsuit, I’m a lot less likely to put any murals on my property. VARA is an important law. It protects artists. But these artists aren’t using it responsibly, and that means consequences for all of us.
  • The Bushwick Daily has a must-read piece on the billboards that have begun to infest The Bushwick Collective. The neighborhood is transitioning from a mural hub to a new Times Square. It’s extremely lucrative for property owners, but detrimental to the surrounding artwork and the neighborhood vibe. So what are property owners to do? As Jordan Seiler notes, no reasonable property owner is going to turn down $24,000 per year to have a billboard on their wall, so the answer is regulation. If we, as a society, decide not to allow billboards in public space, or at least in certain neighborhoods, then those neighborhoods can have murals instead. Because of Little Italy’s status as a historic district, property owners cannot slap up billboards on every available surface. That’s part of why The L.I.S.A. Project NYC is able to get so many great walls. Maybe all of NYC, or at least Bushwick, should get the same protection.
  • Speaking of The Bushwick Collective, it’s nice to see them relaxing their unofficial rules barring political murals (where they can still get permission to paint). Chip Thomas aka Jetsonorama installed a stirring mural in Bushwick just in time for the 4th of July (shown above). The Huffington Post has the story behind the piece.

Photo by Chip Thomas

Category: Art News, Photos, Random | Tags: , , ,

One year inside the mural machine

July 1st, 2015 | By | No Comments »

Murals and graffiti in Philadelphia.

One year ago today, I started a job at the City of Philadelphia Mural Arts Program. At Mural Arts, we have a fundamentally different way of thinking about and creating public art than I’d ever experienced spending time around street art, graffiti, or even mural festivals or programs like The L.I.S.A. Project NYC or The Bushwick Collective. A year inside of “Philadelphia’s community-engagement juggernaut” has taught me a lot. It’s made me fall deeper in love with street art than ever before, and it’s also helped me to better understand the medium’s shortcomings. Here are a few observations:

  • Street art’s greatest strength is its ability to be nimble. Gaia made a similar point at an event at the Philadelphia Museum of Art in May, where he described street art in Philadelphia as something that can fill in the cracks that Mural Arts doesn’t reach. April Fools’ Day? Street art is there. Black Lives Matter? Street art is there. Potholes need fixing? Street art is there. Street art gives artists an almost unrivaled opportunity to respond quickly to the world around them, whether that means making work with timely pop culture references or commentary on world events, or being inspired to the architecture and design of the city. The nimbleness of street art is also closely related to its use as a space for experimentation and free(ish) expression. For all those reasons and more, street art is an essential element of a healthy public space.
  • Decoration is rarely enough. I love art for arts’ sake as much as the next guy, and sometimes there’s nothing better than seeing a beautiful piece on a cool building and just having your day brightened up a bit. If you really feel like your contribution to the world is to make it a more colorful and exciting place with funny wheatpastes or huge murals at street art festivals, that’s great. Do that. But do that because you believe it makes a contribution to a space, not because you want to paint a bigger mural than the last guy and get more likes on Instagram. If the right crop on a photo means that I can’t tell the difference between your studio work and your street work, you’re probably doing it wrong.
  • As we say at Mural Arts, it’s not just about the paint. The most rewarding projects I’ve had a small role in at Mural Arts do things like tell stories about Philadelphia’s history, provide jobs and training for men coming out of the criminal justice system or change the conversation around homelessness and housing insecurity.
  • All that is to say that it’s rare for social practice and socially-engaged art making to be combined with strong aesthetics, but when that does happen, there’s an amazing synergy. Swoon‘s work is a great example. For the most part though, street artists and the street art press (myself included) place far too much of a focus on the aesthetics and decor, not enough on truly transformative work. That’s a lot of wasted opportunities, because street art and public art in general can do so much more than just look cool.
  • Some projects need institutional support. Institutions can provide the resources, credibility, and access necessary to take a project from good to great, from non-existent to a reality. Open Source is going to be amazing, and most (if not all) of the projects in the exhibition would be impossible for artists to do on their own, even with substantial financial resources.
  • Some projects succeed because they don’t have institutional support. Tatyana Fazlalizadeh’s Stop Telling Women to Smile series is powerful in part because it can appear anywhere, and that anonymous bust of Edward Snowden is powerful because it appeared somewhere that the state would never allow. Institutions always come with strings attached (like, for example, not breaking the law or not bringing up certain topics).
  • Artists should be paid for their labor. If you cannot pay an artist a fair wage to participate in a project, you should ask why not and seriously consider whether or not the project is worth undertaking at all.
  • Certainly not a revelation, but an important reminder: There is an art world outside of the commercial art world, and it is beautiful. The most powerful art in the world is the art that can’t be constrained to an investment portfolio.

Photo by RJ Rushmore

Category: Featured Posts, Random | Tags: , , , ,

Live a little on Coney Island

June 17th, 2015 | By | 1 Comment »
eL Seed. Photo by RJ Rushmore.

eL Seed. Photo by RJ Rushmore.

Last Sunday, I visited Coney Island for the first time. I was there to see The Coney Island Art Walls, Jeffrey Deitch‘s latest mural project. Deitch is a master of fun, and he has a habit of causing controversy. The Coney Island Art Walls are no exception. The murals are a great addition to Coney Island’s myriad of attractions, but artnet in particular has been treating Deitch like their personal punching bag, in large part because of the project’s ties to Joseph J. Sitt of Thor Equities, a real estate developer whose company owns the lot where the murals are being installed.

Tatyana Fazlalizadeh. Photo from Tatyana Fazlalizadeh's Instagram.

Tatyana Fazlalizadeh. Photo from Tatyana Fazlalizadeh’s Instagram.

People were mad at Sitt for attempting to destroy the history of Coney Island and leaving lots his lots vacant. Those are completely legitimate concerns. Now, they’re mad that Sitts has put something in one of his lots: A bar, some concession stands, and murals by an amazing array of artists, many of which explicitly celebrate the history of Coney Island. Or rather, it’s arts journalists who are attacking Deitch, on the basis of those complaints, for helping Sitts DO THE VERY THING THAT PEOPLE WERE CALLING ON HIM TO DO. Their anger makes no sense, unless those journalists are just desperately searching for one more reason to hate on Deitch.

Ron English. Photo from Ron English's Instagram.

Ron English. Photo from Ron English’s Instagram.

That said, The Coney Island Art Walls are entertaining, which makes the project easy to dismiss as unimportant. But the murals are literally across the street from an amusement park, so of course they’re entertaining! Are the murals tools for gentrification and mindless amusement more than social justice and disrupting the everyday? Probably. And most days I’d prefer to see a piece of illegal street art or graffiti or a “socially engaged” public art project than a wall where the art functions primarily as decoration. Most days, I’d also rather eat a salad than a hot dog. But on that rare occasion when I visit an amusement park, I am there to be amused and I definitely don’t want a salad for lunch.

Lady Aiko. Photo by RJ Rushmore.

Lady Aiko. Photo by RJ Rushmore.

The key to the project’s success really is the setting. These are not murals that you’ll just stumble across randomly. It’s a project that you travel to the end of the subway line to see. It’s its own Coney Island attraction, and a good one at that.

Jane Dickson at work on her mural. Photo by RJ Rushmore.

Jane Dickson at work on her mural. Photo by RJ Rushmore.

Artnet’s Brian Boucher suggested that organizing murals for Coney Island was a new low for Deitch. That’s such a closed-minded view of what and where art can be. The bulk of the murals celebrate the history of Coney Island or at least fit in perfectly among the area’s existing cacophony of iconic rides, amusements, and signage. Aiko‘s piece looks like it belongs on the side of a carnival game, and Jane Dickson captured spirit of wonder in the air. I’m not sure I’d enjoy AVAF’s mural if I had to live across the street from it and see it every day, but it’s fantastic as a contemporary take on an crazy Coney Island signage. The Coney Island Art Walls are an opportunity to install a series of murals that wouldn’t make sense anywhere else.

Shepard Fairey. Photo by RJ Rushmore.

Shepard Fairey. Photo by RJ Rushmore.

Artnet’s Christian Viveros-Fauné was also flat wrong when he dismissed the project for its “Uniformly colorful murals that individually deploy some of street art’s standard motifs—bright hues, stencils, and graphic punch—but engage in neither activism nor neighborhood politics.” Amongst the color and revelry, there is in fact some politically-charged worked: Shepard Fairey‘s fitting tribute to classic seaside advertising features a call for environmental responsibility, Mr. Cartoon‘s painted a young person of color being chased by a white police officer while the grim reaper lurks in the background, and Tatyana Fazlalizadeh’s portraits of neighborhood residents are accompanied by this statement: “The day before Easter and the day after Labor Day – People still live here. People die here. People love here.” Politics and activism are far from the focus of the project, but they’re not absent.

Mr. Cartoon. Photo by Martha Cooper.

Mr. Cartoon. Photo by Martha Cooper.

So, go to Coney Island. Check out The Coney Island Art Walls. But go with the right mindset. It’s an attraction to be enjoyed. Take a selfie with Ron English‘s sideshow characters. Snag the perfect photograph of eL Seed‘s mural with a roller coaster in the background. Climb onto Skewville’s oversized boombox and do a little dance. Go home with a smile on your face. It’s good for you.

Skewville. Photo by RJ Rushmore.

Skewville. Photo by RJ Rushmore.

Photos by RJ Rushmore and Martha Cooper, and from the Instagrams of Tatyana Fazlalizadeh and Ron English

Category: Featured Posts, Gallery/Museum Shows | Tags: ,

Exploring Ghent with Chris Dyer

June 16th, 2015 | By | 1 Comment »

Bue the Warrior and Chris Dyer

In early spring, I had the chance to meet up with Chris Dyer in Ghent, Belgium, while he was visiting the family of his wife, the lovely Valerie. As he regularly spends time in this part of Europe, and in order to avoid getting bored and to take advantage of this time away from Montreal, his home city, he met with the local street artists and ended up collaborating on a bunch of projects. And because Chris is so generous and positive, he naturally became friends with many of them.


Chris Dyer, Bue the Warrior, and Scarpulla

For me, it was an opportunity to explore the city with Chris, to get his take on Ghent and see what he’d painted there. Actually, as he said to me, Ghent should be re-named Bue the Warrior City! When you enter Ghent, you see Bue’s art everywhere. Whether it’s illegal or legal pieces, his art covers a multitude of walls and doors… All of it painted in a joyful spirit, yet always controlled.

While we were walking through the city, looking for some cool spots where he used to paint, Chris explained to me how he improved his bombing technique each time he worked with Bue. It’s the same gratitude you can feel when he speaks about his beginnings in Montreal, where he was invited, in the early 2000’s, to join an exhibition organized by the best of the best,Troy Lovegates and Labrona, after he moved from Peru for study illustration in Canada. What a lesson of humility, when you can hear the admiration and respect for his peers by an artist like Dyer! He also told me about his early life in Lima, Peru, where he began tagging as a teenager while he was part of a street gang.


Chris Dyer


Chris Dyer

Ghent is a small town compared to bigger neighbors like Brussels, but it appears to be an incredible canvas for Belgium street artists and graffiti writers. ROA is the most well-known among them, as are Dzia, A squid called sebastian, Resto, Bisser, Scarpulla, and of course Bue the warrior, just for named a few.




A squid called sebastian


Bue the Warrior and Dawn


Graffiti Factory


Graffiti Factory


Bisser, Bue the Warrior, and Chris Dyer




Bue the Warrior

Thank you very much Chris!


Chris Dyer behind the Graslei, the historical center of Ghent.

Positive Creations in Belgium (Artventures Webpisode #8) from Chris Dyer`s Positive Creations on Vimeo.

Photos by Aline Mairet

Category: Photos, Videos | Tags: , , , , , , , , ,

Fra.Biancoshock invades Facebook’s walled garden

May 31st, 2015 | By | 2 Comments »

ad approval

On any day, Facebook might have thousands of potential stories to show to any given user, of which that user will only ever see a handful. So does Facebook decide what to show, and how do you stand out on Facebook? How do you get your content on everyone’s News Feed? Fra.Biancoshock decided to find out.

The trick to being seen is, of course, to buy ads. So Fra.Biancoshock bought one…

order nothing


Compare the results of Fra.Biancoshock’s ad to a typical post on his Facebook page…

The unpaid post on his Facebook page was seen by 192 people.

The unpaid post on his Facebook page was seen by 192 people.

The sponsored post was seen by almost 5,000 people, for just a few dollars.

The sponsored post was seen by almost 5,000 people, for just a few dollars.

As Fra.Biancoshock’s piece shows, slots on your Facebook News Feed don’t go to the best content. They go to the highest bidder. Facebook may be in favor of net neutrality on the internet as a whole, but what are Facebook ads if not viral content’s version of an internet fast lane?

On one level, this is all good fun, and technically Facebook made a few bucks in the process so they shouldn’t be too upset, but it’s also a bit scary. Facebook’s algorithm turns the internet into a walled garden, and you have to wonder: When Facebook decides what news you see, what news are you not seeing?

Screenshots courtesy of Fra.Biancoshock

Category: Viral Art | Tags:

The bots are coming for your tweets

May 10th, 2015 | By | No Comments »
The profile page for the Twitter bot @anagramatron

The profile page for the Twitter bot @anagramatron.

It’s no secret that Twitter bots can be pretty entertaining and/or confusing. Sometimes they’re artworks or jokes. Sometimes they’re somewhat useful tools or coding experiments. Generally speaking though (and excluding spambots), Twitter bots don’t actually interact with other users. You could follow @everyword, but it wasn’t going to follow you back or respond to your tweets. And most of the bots that will respond to your tweets won’t respond unless you’ve reached out to them in some way first (like @DearAssistant). There are, however, a handful of non-spambot Twitter bots that will find you even if you’re not looking for them. These bots are examples of invasive viral art, art that exists only online but acts a bit like street art or graffiti, treating the Twitter stream as public space and public tweets as content to appropriate or engage with.

So what do these invasive viral art Twitter bots look like and do? They all seek out other users’ tweets to engage with, and from there things can go in a few different directions.

Darius Kazemi, one of the most prolific and best-known creators of Twitter bots, has @VeryOldTweets. The bot simply “retweets one of the first 7500 tweets (first 90 days of Twitter) four times a day.” The tweets of Twitter’s earliest users are recontextualized as a semi-random look back at “history.” As much as the bot is interesting to random outside observers, there’s also the engagement of the users whose content is being appropriated. I would find it weird and a bit shocking if a tweet of mine from almost a decade ago was suddenly retweeted.

The most obviously “artistic” Twitter bots of this sort relate to poetry and word games.

Colin Rofls has @ANAGRAMATRON and @HAIKU9000. Both bots mine Twitter and then combine “matching” tweets from separate, otherwise unrelated, users.

@ANAGRAMATRON finds tweets that are anagrams and then retweet the matching pairs. For example, on April 9th, @pranksterstyles tweeted “i did my nails before”, and on April 19th, @warneholly tweeted “I’m so drained by life”. When @ANAGRAMATRON found that the pair matched, it notifies Rofls, and with his okay, the bot retweeted both tweets. @ANAGRAMATRON’s retweets are approved by Rofls so the process isn’t completely automated, but that’s mostly to keep out spambots. It’s still the algorithm doing most of the work. As Rofls notes, “[anagrams are] especially interesting because they’re so hard to come up with manually.” Really, without any cheating, who was ever going to think up the pair “i did my nails before” and “I’m so drained by life”?

Similarly, @HAIKU9000 searches for tweets that each fit the rules to be one line in a haiku, and then combines three such tweets into one poem/tweet with credit to its sources, pulling together disconnected Twitter users and appropriating their words in a way that was probably not the author’s intent.

Maybe I’m just too naively optimistic, but I wonder if any of the users appropriated by @ANAGRAMATRON or @HAIKU9000 have ever connected with one another after their tweets were brought together by the bots. I asked Rofls how people respond to his bots, but the result was disheartening. He said, “Mostly they don’t, to be honest. Very occasionally they’re thrilled, sometimes confused, but mostly just silent.”

Rofls was inspired to create @ANAGRAMATRON after seeing Ranjit Bhatnagar‘s @pentametron, a very popular Twitter bot with this fantastic bio: “With algorithms subtle and discrete / I seek iambic writings to retweet.” Like @ANAGRAMATRON, @pentametron searches out matching pairs to retweet, in this case tweets in iambic pentameter that get retweeted together as rhyming couplets (“You fuel my desire to succeed.” / “How many chances does Hernandez need!”)

And then there’s the (currently inactive) Accidental Haiku from Cameron Spencer, which used to find entire tweets that could be broken down into a single haiku. For example:

The other major category of bots search for certain keywords and offer an (often unexpected) canned response, usually related to pop culture. Maybe not as intricate or clever as the anagram and poetry bots, but a pleasant or confusing surprise for users nonetheless.

Colin Mitchell has been a bunch of these kinds of bots, but unfortunately most are currently inactive/retired (@mirror_magick, @for_a_dollar, @iaminigomontoya). My personal favorite from Mitchell is perhaps the most predictable, but it’s also still active: @Betelgeuse_3. Simply tweet the magic words (“Beetlejuice Beetlejuice Beetlejuice”), and see what happens… Like this guy did.

The most famous bot in this category is probably @DBZNappa. Do you know how often people tweet about something being “over 9000″? Apparently, it’s all the freaking time, because @DBZNappa responds to all of those tweets with “WHAT?! NINE THOUSAND?!”, from a Dragon Ball Z meme, and the bot has tweeted well over a million times since it when live in November 2009. Daniel Lo Nigro, who created the bot, describes it as “a pretty good example of a simple ‘search and reply’ Twitter bot, that could easily be extended to do more useful things.”

A personal favorite of mine, although now inactive, is @StealthMountain, which responds to tweets that use the phrase “sneak peak” instead of”sneak peek”. The one beautiful thing about this bot now being inactive is its last tweet:

Good catch, @StealthMountain.

Of course, there’s no better bot to end on than the most hilarious and low-brow: @fart_robot. The bot searches out mentions of farts on Twitter, and retweets them to its 12,000+ followers with the note: “FART ROBOT APPROVES.” For example:

While not all of these bots creators (Daniel Lo Nigro for example) consider their bots to be artworks, I disagree. Or, the very at least, I think bots like @DBZNappa can/should inspire artworks. It’s fascinating that you could just be going about your day, tweeting whatever silly thing you might tweet to your followers, only to have your words appropriated by @pentametron or to be perhaps mildly embarrassed by @fart_robot, which is not unlike walking to work and being surprised by a piece of street art or graffiti. Most people might ignore that piece or street art or an odd retweet, but for some, the occurrence catches them at just the right moment and it affects them.

We live our lives in the public spaces of the internet. Let’s put art there. I hope there are more Twitter bots to come.

Category: Random, Viral Art | Tags:

Sharing Inspiration: Noxer for Frontal Labotomy at Tender Trap

April 29th, 2015 | By | No Comments »
Lance de los Reyes

Lance de los Reyes. Photo by Darryl Nau.

Since reopening in Greenpoint, Tender Trap has hosted an ongoing series of shows curated by Andrew H. Shirley. The Frontal Labotomy series takes place biweekly in a 3′ by 4′ display case in the middle of the bar.

Russell Murphy

Russell Murphy. Photo by Paul Reubens.

Shirley explains:

The idea came to me from staring at my bedroom wall. I was thinking how psychologically explicit the assortment of objects and art I have displayed are- how they tell a story of me and my emotional being. I wanted to be able to create a setting where artists could display themselves the same way. That said, it’s totally up to them how they want to inhabit the box. It’s completely hands-off in the sense that I don’t have any involvement in the content outside of asking individuals to participate in the residency. In the future, I’m looking to curate people from backgrounds outside the world of art- plumbers, vagrants, clowns, convicted felons, and crossing guards in attempt to let the public look into their lives in a more intimate way.


One of Noxer’s pieces for Frontal Labotomy. Courtesy of Noxer.

Tonight, April 29, Frontal Labotomy rotates and New York writer Noxer takes over the space. The opening reception starts at 7pm. Know for bringing his “black man robbing” character to graffiti, drawing, and puppetry, viewers can expect a mixed-media approach to the 4′ x 3′ space, including the above image.

Photos by Darryl Nau, and Paul Reubens, and courtesy of Noxer

Category: Gallery/Museum Shows | Tags: ,

How many street artists can Hyundai rip off in 30 seconds?

April 28th, 2015 | By | 12 Comments »

Screenshot from the Hyundai ad

Major hat tip to Ian Cox for coming across this one, as well as Caroline Caldwell for alerting me to Ian’s find and for research help.

A car commercial currently airing on UK television for the Hyundai i20 appears to steal the work of at least half a dozen street artists in just 30 seconds. Here’s the ad:

I guess this just goes to show you what advertising executives mean by “inspiration”.

How many stolen pieces can you spot? Spoilers after the jump.

Read the rest of this article »

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