From Mexico City to NYC: at Dorian Grey Gallery and on NYC streets

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Ranging from meticulously-crafted drawings to bold paintings, the artworks on exhibit at NYC’s Dorian Grey Gallery are a homage to Mexican street art. A number of artists who were in town for the exhibit also hit the streets, as well. Here’s a sampling of both:

Meca at Dorian Grey
Meca at Dorian Grey
Meca in Bushwick, Brooklyn
Meca in Bushwick, Brooklyn
Bebo at Dorian Grey
Bebo at Dorian Grey
Bebo in Bed-Stuy, Brooklyn
Bebo in Bed-Stuy, Brooklyn
Saner at Dorian Grey
Saner at Dorian Grey
Smithe at Dorian Grey
Smithe at Dorian Grey
Dhear at Dorian Grey
Dhear at Dorian Grey
Fsuca with Kazy in Bed-Stuy, Brooklyn
Fusca with Kazy in Bed-Stuy, Brooklyn

12 Mexican Street Artists continues through June 15th at 437 East 9th Street in Manhattan’s East Village. Additional murals — by the artists on exhibit at Dorian Grey Gallery — can be found on the corner of DeKalb and Spencer in Bed-Stuy, Brooklyn.

Photos by Dani Reyes Mozeson and Lois Stavsky

Get lucky with Don’t Fret

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Chicago street artist Don’t Fret just launched a great little project. For $25, you can buy one of 50 scratch-off lotto tickets that Don’t Fret has painted on. Some of the tickets are loser tickets that have already been scratched, but what I love is that some are new tickets. You could have a winner under that artwork, and you’ll have to make the choice whether you’ll keep the painting intact or test you luck and scratch part of it away to a chance at big money. Plus, the artworks are being sent out randomly, so you can’t choose which one you’ll get.

Pick up Don’t Fret’s customized scratch off lotto tickets here for $25.

Photo courtesy of Don’t Fret

How INSA strikes a balance between the street and the internet

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INSA just finished this new GIF-ITI piece at le M.U.R. XIII in Paris. I haven’t posted about INSA since the release of Viral Art, so I think it’s time to revisit his GIF-ITI work.

As I and many others have noted, INSA’s GIF-ITI is clearly designed for the internet. But what I like about it is that it’s not only for the internet. Blu’s animations look great as a finished product, but they’re not so beautiful if you visit those walls in person long after Blu has left. Some murals photograph well or make sense when you look at them, but they don’t pop or make sense when you see them in person. Others look great in person, but are difficult to photograph. INSA’s GIF-ITI pieces work amazingly well online (certainly better than most still photos) and still looks great on the street. That’s an uncommon combination.

For in-progress photos of this piece, see INSA’s blog.

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Animations by INSA

Buff Monster: The perfect treat for Little Italy

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After probably a year of people mistakenly thinking that this piece was organized through The L.I.S.A. Project NYC and participating with in a collaborative wall for us late last year, we’ve finally had the chance to get Buff Monster a solo wall with The L.I.S.A. Project NYC. Late last month, he painted this piece at the corner of Mulberry and Broome streets. As I’ve said before, one of the things I love to do with our murals in Little Italy is find artists whose work supports the heritage of Little Italy and the businesses there today, but still looks like something you wouldn’t expect to see. I think Buff Monster’s mural fits that. It’s definitely unexpected and bold, but it also features some Neapolitan ice cream and there’s probably 3-4 local spots within sight of the mural to get some gelato.

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Landing Trains Daily

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Just got this post in from the LTD ROADCREW 2014. With photos by AVOID pi, words by FISHO ngc and a video by DROID 907, it tells a freight hopping story or two. That’s all I know. – RJ

Dropped off in Spartanburg early morning. Boobed around the small yard office and found a spot under a rail bridge at the north throat of the yard. Waiting games. Weed smiles and a little nervousness. SUNDAY NO BEER.
Me and Avoid are exploring a small tunnel beneath the tracks, beautiful light and a birds nest, cool water no shoes…
A scream from above, the train, the train is coming.
Big scramble up hill
No time for socks
Spartanburg to Erwin first
Pull everything together, It’s all here
one at a time we grab the moving ladders and jump.

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No cover, exposed ride, catch on the fly with a highway audience
We are rolling, first siding very soon regroup and take a grainer porch together.
Beautiful day the sun is shining
Our porch shakes violently and we laugh.

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Marion is halfway & beautiful nowhere is loud.
At a siding in the middle of a mountain
A worker is walking down the track, stash gear leave porch, hide behind wheels.
He pulls a switch and walks back. Some routine. Hide again.
Sunset Pretty, plenty of documentation

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Keep it moving, many tunnels and bridges and curves.
The clinchfield loops.
Put a coat and sleep if you can. The train is not shaking so much anymore, before the violent jolt was overwhelming, physical washing machine, a mans rollercoaster.

LTD4

This is my vacation, my release.
Enough bad memories
We pull into the Erwin yard late night.
We hop off the ride and hop cuplers to the wrong side of the yard, work trucks and a river

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Go back, cross over more trains and tracks and up a hill.
Find a good flat place to sleep. Goodnight with hits from the apple pipe
Take socks off, sleeping bag warm goodnight finally

LTD5

Awake with sun, feeling good smelling like train dust.
Granola bars and we are walking, town is small. local eyes but no crucifixion or which hunt.
get a hot meal at elms, its a hikers town, good. We assume the trail head identity, remove all train paraphernalia.
ERNIE i mean ERWIN
Head to north throat of yard again and lurk.
Gas stations, fast food, and construction.
We find the cut, a lean two structure, an old roof not resting on thick trees.
Clean it up, stack a wood pile, clear the brush and sprawl out a bit.

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Talk all day with beer, examine the yard from afar.
Apple pipe. We take turns leaving, going to the store buying more beer or French fries and a pancake.
Lounging around the comfortable jungle we are caught far from guard,
A northbound is pulling out of the yard on a set of tracks we weren’t expecting.
Scramble again… We miss the ride look at it chug away.
Close enough to do it but missed. Just missed
More beer and a walk to the cemetery

LTD3

There is always a train sounding in our heads.
Lost time downing cold ones until it happens again.
Goodbye Erwin and rain is coming
Another northbound is pulling out of the yard. We are drunk and ready.
Right after the engine passes us we are on the tracks, hungry for a ladder.
I hardly remember as some strange force took hold of me and I was suddenly climbing into a gondola full of scrap metal as it began to storm. Confused smiling I look back at the empty tracks and hear screaming.
Avoid and I are on the phone where is Droid?
I see him he is also on a metal death ride and coming for me. Walking along the metal scraps crossing from one car to the next.
He comes and gets me and we move back over the metal piles while the train is howling out of town.
We get to a dirty face small grainer porch and head bang for madness rain and life
Find one more beer and split it.
Wet night ride. Cold & the first siding we leave our porch & move down the string to A’s car.
Regroup and ride nighttime rough sleep with amazing morning fog
Kentucky country ride next to the river and small old towns
Train CC’s in Shelbiana, We are assed out
Get off and walk around the yard, hazy morning feelings.
Find an abandoned building, warm inside
Its 7 miles to the nearest town
We start walking and the rain comes again, harder
Get picked up by a college kid in pickup halfway
He drops us off at a Mexican restaurant
Get drunk before we start our residency program in Pikeville Kentucky

LTD91

Confusion about a whiskey town brought us here.
Phone home for the cavalry
Execute a strange piece of roller graffiti with sourced materials
Its not over, its never over

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Photos by AVOID pi aka Adam Void

Montreal street art, endless winter

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The golden cans, Artist unknown. Photo by Space27.

Even if it’s spring time, the action only really started in the streets of Montreal a few days ago. Aside from some artists who managed to escape the snow for some hot sand, most of them were stuck inside for months, as it has been the coldest winter since 20 years. Even so, street art photographer Space 27 caught some very interesting pieces during the last weeks (like this surprising installation of golden cans, above), that make me think that both spring and summer are going to be explosive in Montreal! I can’t wait to see it in person. Here is the street art work of Labrona, Gawd, Waxhead, Stikki Peaches, Jason Botkin aka KIN, Zola, Tôle, Mono sourcil, and a bunch of artists we expect to identify soon…

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Labrona, photo by Labrona.

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The L.I.S.A. Project NYC and Alice Pasquini

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This week, Alice Pasquini became the first Italian artist to paint with The L.I.S.A. Project NYC in Little Italy. Alice was in town for a few days, and we were able to snag her at the end of her visit for a quick piece on Mulberry Street, shown above. With all the talented muralists and street artists coming out of Italy, I’m a little embarrassed that it’s taken us this long to work with an Italian artist, but I’m glad Alice was able to stop by. For The L.I.S.A. Project NYC, I really like pieces like Alice’s because they fit right into the existing vibe of Little Italy, while still bringing something new to the space.

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Photos by Rey Rosa for The L.I.S.A. Project NYC

Mobstr discusses Sex, Drugs and Painting Walls

would you like to own

A slight clarification on the headline: UK wordsmith Mobstr is making his debut indoors with his upcoming solo show “Sex, Drugs & Painting Walls”, opening May 15th. He may be working legally, but you can expect the same cheeky subversiveness that we love him for on the streets. Mobstr was nice enough share some of his thoughts with Vandalog. Though he did not divulge any details of his sex life or drug experimentation here, Mobstr did assure us that he tries to answer all (sensible) emails from fans, if that’s what piques your curiosity.

Caroline Caldwell: In your ideal world, would painting walls be legal? If so, would you continue to do so or would you need to find a new method of being subversive?

Mobstr: I think so long as advertising visually dominates our urban environments something has got to be said for the importance of graffiti competing with it. If I am truly honest I am not sure if I would carry on doing what I do if it was legal as, for me, it would lose its edge. Now that street art has gained credentials a lot of legal work is possible and the big mural stuff seems to be dominating the scene. However, these large mural pieces you see popping up around the world aren’t street art for me. It’s the little subversions which interact and play with its surroundings that I define as street art. An analogy would be calling taggers street artists; they don’t play the same game. That is not to say I don’t like the large mural stuff, they are the obvious and needed realisation of the urban environment. The area of Shoreditch, London is filled up with art on walls. It is fantastic but it’s the stuff which was done in the dead of night that captures my attention.

Caroline: What’s your relationship with the street art community beyond the people who see your work on the street? Do you communicate with fans or participate in any dialogues online? Are you interested in other work that’s going up around the world?

Mobstr: I look at pictures online but beyond that and what I see out and about I have no interaction with the street art community.

I make a point of answering every sensible email I get. If you are appreciated for what you do, then you owe something to the people who appreciate you. Unless you have no desire for the world to see your creations then that audience is part of the reason you continue on.

OPPOSITES

Caroline: Why did you choose now to have your first solo show? Also, why did you choose to have a pop up show when you probably could have worked with any number of galleries?

Mobstr: I actually started to put this show together a few years ago however I realised I was far more interested in painting out on the street so stopped work on it completely… I had an outdoor addiction to feed. The decision to start work on it again was very fluid. I wanted to see this body of work amassed under one roof and it felt like the right time. I decided to do the show independently simply because I like to be independent. It also means you have 100% control over how it goes down which is something that is important to me.

Caroline: Do you feel that you’re addressing a different audience with your indoor work?

Mobstr: That depends on who comes down to the show.

Caroline: If you were allowed a free full-page ad in the newspaper, what would you do?

Mobstr: HUH?

Caroline: How important is documentation to you?

Mobstr: Very. It is almost as important as painting the actual piece. Depending on the efficiency of the graffiti removal team sometimes the only proof a piece existed is in the memory of mine and that of the graffiti removal team but most importantly in the documentation.

buy one get one free

Caroline: One of the interesting things about the art in this show is the frames you’ve chosen for your canvases. Why did you choose elaborate frames for work which even describes itself as minimal?

Mobstr: I am glad you picked up on that as there is a little bit of structure behind the framing. In general any work that is a critique of the art world comes in an ornate frame. I also used ornate frames to exaggerate the message or absurdity of certain pieces.

Caroline: What can people expect from Sex, Drugs and Painting Walls?

Mobstr: I see it as a direct translation of my street stuff into an indoor environment. I think the body of work can be generalised as a critique of art, attitude and culture, punctuated by some general musings. I called it sex, drugs and painting walls not because it contained any of those three things but simply that it has a good ring to it. Also it summarises nicely what I’ve been up to for the last 12 years.

Photos courtesy of Mobstr

The Strip Box: A fun new ad disrupting tactic

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The “destructeur”

Farewell‘s Strip Box is one of my favorite ad disruptions in a while. It relies on a dangerous and highly effective device that Farewell called the “destructeur,” simply a piece of wood with a couple dozen X-Acto blades on it. Put the destructeur in the right mini-billboard, and, well, just watch the video…

Photo courtesy of Farewell

Picking apart our interview with Tony Baxter of the “Stealing Banksy?” auction

The former site of Banksy's "No Ball Games" piece in London. Photo by Alan Stanton.
The former site of Banksy’s “No Ball Games” piece in London. Photo by Alan Stanton.

Yesterday we published an interview that Caroline Caldwell and I conducted with Tony Baxter, director of The Sincura Group. That’s the private concierge behind last year’s sale of the Slave Labour piece formally by Banksy and the upcoming Stealing Banksy? auction, which will have at least seven supposed Banksy street pieces up for sale. Not only do I disagree with a lot of what Baxter said in the interview, but I found many of his answers dodges at best and misleading or shady at worst, so, as promised, here are my thoughts on Baxter’s answers…

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