Yote is celebrating National Welcoming Week (which is this week) by putting up signs these that have the word “Bienvenidos” (Spanish for “Welcome”) superimposed over the Arizona state flag. According to the event’s website, National Welcoming Week is an effort to “promote meaningful connections and a spirit of unity between U.S. and foreign-born Americans.” This week is also the week that the last parts of SB1070, Arizona’s controversial immigration law, go into effect.
Photos by Yote
On September 16th, Hyuro‘s mural in Atlanta was buffed by members of the Living Walls team. As I wrote last month, the mural that Hyuro painted for this year’s Living Walls Conference was the highlight of the festival, but it was considered controversial by some of the local residents. Of course, street art and murals cannot last forever, nor should they, but it’s difficult to not be at least a little sad about the swift rejection of this mural by the community. Creative Loafing Atlanta has a great slideshow going over the story of the mural from start to finish.
Both Hyuro and and (Living Walls co-founder and executive director) made statements about the mural and it’s removal.
Hyuro:
Each person can take it the way they want to, because it is for everyone …and at the end, if it gets painted over, know that the gray paint will not hide the fears of no one, but if anything It will make those fears more visible.
Monica Campana:
Paint on this wall made for a beautiful mural, people talking about it made for a beautiful conversation. A public space was created and all of a sudden this dead intersection became more human. The mural belonged to all of us, to the ones that liked it and to the ones that didn’t, it was our dialogue, it was our challenge, but now it’s gone. Now we are back to ignoring that space again, now we are back at thinking that erasing the evidence will make us think this never happened. It hurt so much to paint over the wall, to destroy something someone else put so much heart and passion into. It was a painful process, but what hurt the most was that for the first time I felt like I had to censor myself. It was a weird feeling, a confusing and ugly feeling that I never want to experience again.
Photo by Dustin Chambers via Creative Loafing Atlanta
Beau Stanton was recently in Germany where he painted a section of the Berlin Wall. Of course, Beau is Ron English’s assistant and has been mentored by Ron for a couple of years now, and Ron painted the wall back before it came down and when painting it meant risking arrest. Still, Beau’s work for this project was pretty spectacular. Somebody give this man some wallspace to paint murals in NYC!
Photos by Beau Stanton
It is time for me to get a reasonable number of hours of sleep. Until I have to get up in the morning. Here’s what we didn’t get to write about on Vandalog this week:
Photo by Zéh Palito
Opening this evening from 7 to 10 pm at Bushwick’s Low Brow Artique at 143 Central Ave is Just My Type, an exhibit featuring the work of four Brooklyn-based artists — Gilf!, Dirty Bandits, ND’A and QRST — who utilize typography in their artworks. Ranging from the playful to the poignant in a variety of styles and media, the pieces often amuse and always provoke. Coordinated by Low Brow Artique’s resident curator, Rhiannon Platt, the exhibit continues through October 7th.
Images clockwise: Gilf! close-up, photographed by Lois Stavsky; QRST photographed by Tara Murray; Dirty Bandits on postcard courtesy of Low Brow Artique and ND’A photographed by Lois Stavsky
Tony Goldman was a developer and preservationist acclaimed for revitalizing neighborhoods in Miami and New York. Long after South Beach was considered past its prime, Goldman Properties turned the sleepy, moth-ridden strip into one of the most glamorous destinations in the United States. He has also been accredited with endeavors to salvage Center City Philadelphia and SOHO in New York. But what does the death and life of a great American businessman have anything to do with street art? Because Goldman’s interest in street art and graffiti late in his illustrative career has spawned some of the most prestigious and contentious mural projects in the world. One of Tony’s more recent rejuvenation projects is the Wynwood Walls compound: a museum of murals flanked by two upscale restaurants, cordoned off from the street and protected by security. This lush oasis or mausoleum, depending on your perspective, has been the beachhead for Wynwood’s transformation into an arts district fueled by the feverish energy of Art Basel Miami. In an interview with the New York Times, Tony explained that he felt Wynwood had “an urban grit that was ready to be discovered and articulated.”
This quote is perfectly representative of Street Art’s slow growth into a movement that manages to simultaneously encompass the smallest illegal act to the colossal legal wall. While the story of the avant-garde getting over and becoming the establishment is an old cycle that is endlessly vilified and reenacted, Wynwood Walls, the infamous Houston Street Wall and Goldman Properties’ recent collaboration with the Philadelphia Mural Arts Program are distinctly American approaches to mural making and Street Art. Tony Goldman not only recognized the potential in neighborhoods otherwise disregarded as blighted, but realized the exciting promise that sanctioned walls had for his properties.
Via the Miami New Times
Photo by Wallyg
2501‘s two latest works are an interesting abstract break from the figurative work of his that’s been so popular over the past year or so. This first one is inside an abandoned church in Craco, Italy. But it’s the piece below which is really interesting. For one of the most intellectually-interesting works I’ve ever seen from 2501, he has channeled MOMO and Gordon Matta-Clark with an ever-changing abstract piece that plays with shadow. Throughout the day and the year, shadows hit the wall differently all the time, changing the overall piece with every changing shadow. Luckily, Matteo Bandiello, got some photos of the ever-shifting work.
Photos by Matteo Bandiello
I’d always wondered about Jonathan LeVine, the self-described owner, proprietor, and head honcho of one of my favorite galleries anywhere. Curious about the roots of his passion, vision and success, I recently read Caleb Neelon’s 2011 book, Delusional: The Story of the Jonathan LeVine Gallery. Providing an intimate glimpse into not only the gallery, but into Jonathan LeVine himself, Neelon’s book, brilliantly introduced by Carlo McCormick, also features dozens of wondrous images and reminiscences by a range of artists whose work LeVine has exhibited.
After reading the book, I had the opportunity to meet up with Jonathan and speak with him:
It’s wonderful to have someone with your passion and aesthetic sensibility sharing and promoting the art we love in a gallery in the heart of the art world. What motivated you to bring your vision and business to the Chelsea art district?
I chose New York City because it is the best platform for artists’ works to be seen. It is also the best setting to encourage artists to reach the highest level possible. An artist needs to be seen in a gallery that’s in the epicenter of it all to gain recognition and be taken seriously in the art world. That is the only reason why I’m here. If another city were as important to the success of an artist, I’d be there.
According to Delusional – the Story of the Jonathan LeVine Gallery, you were initially friends with many of the artists whose works you promote in your everyday ventures. You would also just pick up a phone and call anyone whose work spoke to you. Is that still the case? How do you consistently find and feature the work of so many first-rate artists?
It’s mostly the Internet these days. The blogs out there – like Arrested Motion and High Fructose — make it easier for me. But I still check out bookstores. I read magazines, and I speak to people. I also look at art that is referred to me.
How did you manage to establish a collector base strong enough to support your wonderful space?
It’s a slow process. I’ve been at this for 17 years. After curating downtown in the 90’s, I opened a spot in New Hope, PA and then moved to Philly before coming here. I’ve been fortunate to attract such preeminent collectors as Nike CEO Mark Parker who began purchasing artworks from my Philly space and has continued to do so. And I aggressively use the Internet to promote business.
You describe your initial curating ventures as an “addiction” that you couldn’t walk away from. Is that still the case? How do you keep from “burning out?”
Yes, it’s still the case. I see my work as my calling. I couldn’t walk away from it even if I wanted to. I’m married to it and I often tend to take on too much. But to avoid burnout I do take necessary breaks. I travel when I can, and I always try to get sufficient sleep. I also maintain a sense of humor.
Much of the work your gallery features is rooted in pop culture, blurring the lines between pop surrealism, illustration, graphic design and fine arts. Included, too, are works by artists whose main canvas is the streets. Have you any favorite genre? Which artists – in particular – speak to you?
I love them all. I don’t like drawing distinctions among genres. I only feature artwork that I love. I see it all as contemporary art, but for lack of a more distinct term, I came up with the label, “pop pluralism.”
It was your “Streets of São Paulo” exhibit that not only introduced me to your gallery, but moved me to visit São Paulo and explore its streets. How did that come to happen?
I had come across the book Graffiti Brazil by Tristan Manco and Caleb Neelon. I was taken by the raw beauty of the Brazilian street art featured in the book, as it is quite different from what I’d seen elsewhere. I also thought it was important. I decided to visit São Paulo, and that was the first of many trips there and an ongoing relationship with São Paulo’s Choque Cultural Gallery.
What was your most memorable experience since moving your business to NYC?
My visit to São Paulo was my most moving experience, as it was life-changing. A particular moment that stands out here in NYC involves a Shepard Fairey show that I curated back in 2007. Shepard had installed work in a space in DUMBO, Brooklyn for the opening party. I didn’t know what kind of turn-out to expect. I’ll never forget seeing a line that stretched around the block of folks waiting to gain entry to this opening event.
In his intro to Caleb Neelon’s book, Delusional – the Story of the Jonathan LeVine Gallery, the noted art critic Carlo McCormick describes you as both charming and candid! That’s a hard act! How do you manage it — as everyone seems to speak well of you!
That’s good to know! I’m a Northeasterner — honest and straightforward. I suppose that’s how I manage it. I don’t understand greed and selfishness. I have a strong work ethic that is driven by a sound morality. And I don’t compromise.
What is your greatest challenge – as there are certain to be many?
Yes, managing others — getting people to do what I want them to do – is, perhaps, the greatest challenge. And dealing with a range of personalities – involving other people’s issues, along with my own – demands extraordinary skills and patience. Conflict-management is a huge part of my job.
How have other Chelsea art dealers responded to your presence here?
At first, there was a great deal of curiosity. They seemed to be wondering, “Who is this kid?” But their question was answered when they saw me selling art.
How would you define your professional goals?
I would like my gallery to continue to grow and for the art that I exhibit to increasingly gain recognition and respect. I’d like to be a modern version of the late Leo Castelli, the influential New York art dealer who played such a huge role in promoting the works of so many groundbreaking artists.
I meet so many folks in their 20’s who would love to be “the next Jonathan LeVine!” What advice can you offer them?
I don’t think I would recommend this line of work. It is difficult and carries a huge amount of responsibilities and pressures. I would not have chosen to be an art dealer. Folks often make assumptions about me based on my name and the kinds of people who tend to work in this field. But I was raised by a single Italian mother, and we struggled. School was always a challenge, and I disliked it. But when I found my calling, I answered it with passion, perseverance and patience. I view what I am doing as a service to others. I would advise anyone who is interested in this field to acquire basic business — as well as art — knowledge, read extensively and develop a huge network. This is not an easy business! It is demanding and challenging, and it requires tremendous resourcefulness.
What’s ahead?
I’d like the Jonathan LeVine Gallery to become one of New York City’s big blue chip galleries and gain an international presence. I’d also eventually like to have a huge storefront. That would be my next move.
Photos courtesy of the Jonathan LeVine Gallery
Os Gemeos and Aryz are the latest artist to complete a mural in Lodz, Poland for the Galeria Urban Forms. Hopefully this piece doesn’t cause as much controversy as other recent works featuring nudity or Os Gemeos’ characters, because it would be a real shame if this piece had to be buffed.
Photo by Aryz
“Graffiti: where community and creativity connect,” said no government ever.
Photos by Billy Craven, ExcuseMySarcasm, Fabah Zadok, FunkandJazz, Heavy Artillery, Lepublicnme, Startape Photographe and thesaltr
