Spaik has been working on big and small scale, legal and illegal murals throughout the past few months. His experimentation with themes of cultural relevance such as: intimacy, nature, education, social mobility continue to be apparent in his two latest works.
Photos courtesy of Spaik
There’s been surprisingly little street art or graffiti about Edward Snowden, the patriot who leaked information to the press about the NSA’s massive internet spying programs. I would think that street artists would jump at the chance to make art in solidarity with Snowden, but so far that hasn’t been the case. The two pieces here by Thierry Ehrmann aren’t even on the street in the sense of being placed in truly public view, they are in his outdoor museum Abode of Chaos. I also found work by PosterBoy, Bamn and Eclair Acuda Bandersnatch. There was also this projection in Berlin, but I guess I’m looking more specifically for street artists who are taking up the cause.
This is what I’ve been able to find so far. If you know of more Snowden-related street art or graffiti, please let me know in the comments section of this post.
Photos by Steve Rhodes, Jamie NYC, Thierry Ehrmann and PosterBoy
Since moving back to Bogota, I’ve found a true pleasure in looking for a character that pops up in the most unexpected spots; he is everywhere and I take my hats off to Saga Uno and his efforts to conquer the city, cause he knows damn well how to do it. So this is my very quick introduction to Saga Uno and the ever evolving and traveling Salsaman.
Bogotá Mambo from Al Loro on Vimeo.
Photos and video courtesy of Saga Uno
Jetsonorama sent over this photograph along with an interesting explanation:
after reading your piece about shep’s displeasure with the obama administration, i too am bummed.
i pasted an image of a kid from my community on a roadside stand in april. when i shot the image the kid (owen), was playing with matches while his mom was watching a video close by. hoping he wouldn’t notice him, he’d peer over his shoulder from time to time to see if she was looking. the look on his face is one of guilt + slyness, hoping he doesn’t get caught with his hand in the cookie jar so to speak.
a visitor to the little colorado river gorge where the image is pasted recently shot this image which in my mind is a subtle commentary on our current state of politics with the obama administration getting caught with it’s hand in the cookie jar – increasing the use of drone missles, spying on it’s citizens + allies and not persecuting those responsible for the predatory lending that resulted in the housing crisis.
it’s twilight in america.
Photo by James Patrick Kelly
Last week you may have seen it reported around the web that Banksy had been interviewed on video by Adult Swim. Or, at least that he might have been interviewed by Adult Swim. While kinda funny (especially the last question), the interview is pretty obviously a fake. That’s fine. I’m not saying we should all go boycott Adult Swim for posting a fake Banksy interview. It’s parody. But just in case people were being fooled by the video, I just wanted to clear up that it’s a parody and not a genuine interview.
First of all, Adult Swim’s Banksy sounds nothing like how Banksy sounds in Exit Through the Gift Shop. Voice modulation can disguise someone’s voice, but in this case it’s pretty clear that it’s two different people’s voices being disguised.
And in Exit, Banksy’s face is properly hidden. I went to Netflix and took a screenshot of Banksy being interviewed in Exit Through the Gift Shop. When I put that image in Preview and turned up the exposure to a ridiculous level, as shown below, everything gets brighter except for Banky’s face. His face was subtly covered with a dark black splotch in the editing room so that people couldn’t try to trick to figure out what Banksy looks like.
Adult Swim didn’t do that with their interview (thanks to commenter mgk1 on Complex.com for picking up on this). Their Banksy’s face can be seen from time to time even without turning up the exposure. But, just to make it more clear, I’ve brightened a few images from Adult Swim’s video. Here they are:
Okay, you don’t get a great shot of the actor, but his face definitely isn’t completely blacked out. Do you really think that Banksy would give his first interview in at least a year, the first video interview I can ever recall him giving (or did he give one to a British newspaper a while back?) and not properly conceal his identity?
So there you have it. Adult Swim’s interview with Banksy might make you laugh, but it’s not the real deal. Honestly though, Adult Swim’s version isn’t as funny as most Banksy interviews, so maybe that should have been a dead giveaway right there.
Edited stills originally from Exit Through the Gift Shop and Think Talk: Banksy
Enjoy the weekend:
Photo by Lois Stavsky
I think this piece by Escif close our our coverage of Public Art Horsens, a recent mural project in Horsens, Denmark. I really love what Escif did here. He has done a great job in Horsens and elsewhere of subverting expectations and keeping rebellion in mural festivals in programs that all-too-often just result in wall decoration. Photographer Henrik Haven, who helped organize the murals, sent over a story explaining this mural…
-The organizers: “Hello, we are working on a public art project here in Horsens, so we are looking for some walls to intervene. A selected group of international artists will arrive in town to create public works on various locations in the end of June.”
-The owner of the building: “Sounds really interesting. The Turkish pizzeria that just opened in the adjacent premises is not the most beautiful image for my building… you know! So I´m sure that some nice renowned artists can equilibrate this.”
-The organizers: “Sounds good, sir!”
And here is what Escif painted next to the pizzeria:
Photos by Henrik Haven
Pastel recently finished a wall in Buenos Aires, Argentina. What I like of Pastel’s work is how it references so neatly and effortlessly his influences in archetectural studies and demonstrates a hightened conscience of lines, shapes, and the richness that can expressed utilizing the absence of colors.
Photos courtesy of Pastel
The Wa, OaKoAk and fra.biancoshock recently teamed up on a project across cities where all three of them made work on the theme of a “safari in the urban jungle.” The work was made in Milan, Berlin, Dusseldorf and St. Etienne. The three artists agreed on a theme, but beyond that each of them had no idea what the other two were making for their contributions to the project.
Photos courtesy of The Wa
ChrisRWK is an artist whose work I’ve followed pretty much since I got interested in street art. He has a strong cult following of fans who love how his work brings joy, and he’s probably one of the go-to artists that people getting started in stickers look to. Chris is the latest artist in the space across the street from Woodward Gallery and he and Veng recently painted a wall in Little Italy for The L.I.S.A. Project (for which I am a co-curator). And then I read this interview and found out that’s he and Veng are doing a print with 1xRun, whom I’ve worked with as well. Basically. All in all, seemed like a great time to ask Chris a few questions…
RJ: What do you look for when you’re thinking about collaborating with another artist?
Chris: Over the years I’ve learned a lot from Collabing with artists. I remember asking artists if they would like to collab back in the day and people had no clue what I meant. Mainly cause no one was doing it on stickers. I had collabed with artists for years on murals and artists have collabed on canvases for years. Some that always struck a chord with me was the Basquiat, Warhol and Clemente canvases. So I figured bring it to stickers. I had been making stickers for years and they’ve always been a favorite medium of mine. From collecting to making, I always loved em. So with some artists I know to just do some hand drawn ones but with other artists I do printed ones. Some artists like El Toro, Bob Will Reign, Under Water Pirates I’ve collabed with for years, since around 2004. With guys like them I always love doing hand drawn ones because of the diversity. They would always do something new. Artists like Royce, MCA/Evil Design, Flying Fortress I’ve done both hand drawn and printed. Printed because of the strength and iconographic imagery.
RJ: Why are stickers an important part of street art and graffiti?
Chris: Stickers have been in graffiti for years but people never paid attention to them. I remember seeing ones with tags on them in the early 90’s when I’d go into Manhattan. In the late 90’s stickers started gaining popularity overseas from what I saw. In 2001 when kevin and I launched robotswillkill.com, stickers were starting to catch on in the US as its own scene. I remember when PEEL magazine contacted me about doing the cover for their first issue. I was amped, a zine all about stickers?!? And I was doing the cover?!? That was in 2003. In the past few years the Graff scene has rediscovered stickers and seems like their appreciation has grown for them. For years it was like they looked down on them. The sticker scene itself has grown over the past few years which is good and bad. You have tons of “artists” who just collect them and use the ones they get to trade up. It’s the baseball card theory, well for this generation maybe the Pokemon card theory. Don’t get me wrong – collecting is cool, but to an extent.
RJ: About how many stickers do you draw or print each year?
Chris: Print I’d say 15-20 thousand. That’s mainly for trades, giveaways etc. I always liked putting up hand drawns. Printed are great for putting up because of longevity and ability to grill an area but there’s something about finding an original on the street. So hand drawn ones I’d say around 10-15 thousand. It’s tough to say cause I just sit down and throw on a movie and do em until the packs empty or the movie is over. So that could be a hundred or couple hundred in a sitting. Also depends on what style I’m doing. If they are black line ones then those I fly threw. If I’m doing color fills, shading etc it’ll be less.
RJ: A lot of your recent paintings feature your trademark characters less prominently than your work has previously. Where are they going? Where are you going?
Chris: Well I’ve always had an array of characters but the Robot always caught everyone’s attention. He became the icon for the stickers, clothes etc. I did him on paintings for years also. The boy and girl characters have gained more recognition in the past few years. Between the murals and canvases I can have them convey more emotion or tell more if a narrative. It’s funny because for years when I’d paint something everyone would say, “Are you doing the robot? I hope you do the robot!” So I did the robot. Nowadays people don’t say that because they’ve become familiar with the rest of my work. Granted when I sign black books, do stickers etc I do the robot. The newer work has subconsciously become more autobiographical. When I was talking to a friend of mine, he made that remark. So I started to think about it and he’s right on some levels. For example Veng and I did a show at Low Brow Artique called “From the Start: a collection of studies” and when I chose my 5 study subjects, they all had a deep connection to me and my life. So for the newer works, I try to tap into that more.
RJ: How was it painting your version of the Mona Lisa in Little Italy?
Chris: To be honest, tough at first. When Wayne from The L.I.S.A Project mentioned it I automatically thought ok time to paint a Mona Lisa. For some reason it didn’t dawn on me right away to do it in my style. I just figured paint Mona Lisa. So after a few sketches I did my style. Wayne showed it to the owners and they loved it. I showed it to Veng and he knew exactly what he wanted to do. This was the perfect project for him to bring back his circles. We put together the sketch fully and it was def meant for the spot. The L.I.S.A Project has a great thing going. It’s funny too because my best friends Godfather ran the restaurant where we painted for years.
RJ: You’re pretty popular on Instagram. What do you think Instagram has done for street art or stickering?
Chris: Things like Instagram have definitely brought more attention to things like street art and stickers. It’s quick and has its own scene. Once you mix things that have their own subculture it’ll only help promote each other. Blogs and stuff helped promote street art for years but were mainly constrained to desktop computers etc so with something like Instagram you have it right on your phone at any moment of the day. People love instant gratification. And to be able to post something from anywhere in the world for anyone in the world to see is amazing.
RJ: Have you got any upcoming projects that you can let us in on?
Chris: I just finished up 4 panels for the Woodward Project space across from the gallery. It’s titled “Those Summer Daze”. Veng and I have a print coming out with 1xRun soon. I’m involved in Sticky Situation NYC by Ink Monstr. I’m working on inventory pieces for Dorian Grey gallery. I’ll be painting at Jersey Fresh Jam. I also have a two man show coming up at Mighty Tanaka with Michael Banks(Sugar Fueled) this October. Oh and also finishing up issue #3 of Surface Area zine. Of course there’ll be some other outdoor art going on.
Photos by ChrisRWK
