The third installment of the Legacy project, James Rouse is imposed with his own words back onto one of his first development projects in Waverly, Baltimore. Built in 1957, the Waverly development was one of the very first Urban Renewal sites in the United States. Housing stock designated as slum land was cleared for around 300 units and a small shopping center and was originally reserved for white families only.
For more photos of this piece check out this link http://www.flickr.com/photos/gaiastreetart/5187528288/
A lot of events have been happening this week, most likely so that everyone can make a last minute push in shows and such before the holidays. Then we have nothing to write about. Gotta love when a whole industry shuts down for a month or so.
Blu (photo vua Nuart)
Anyways, so here is what has been going on:
Tonight is the opening of the London Miles Gallery“The Idol Hours”. The show is a group show that gives artists like Luke Chueh, Travis Lampe and Scott Young the opportunity to portray artworks from the art canon in a modern sense
Factory Freshwill be hosting a Block Part in Brooklyn Nov. 20th with a live mural painting from Gai, Imminent Disaster, Chris Stain and Skewville. The Burning Candy Crew will also be showing new portions of their ongoing documentary Dots
New Blupiece in France popped up recently. Such detail as usual
Remi/Rough has been busy in England lately. He has a new print released, designed the decor of the new Wahaca Soho eatery, and put up a nice piece in Birmingham with time lapse video
Finally, A Barry McGeeretrospective will take place in 2012 in Berkeley, California in conjunction with the Berkeley Art Museum and Pacific Film Archive. The two organizations were awarded a $100,000 grant by the Andy Warhol Foundation to put on the show
Unusual Image has some great photos of the Best Ever show that took place at Blackall Studios last night
Stolenspace will play host to the second solo show by Ronzo entitled “Crackney’s Finest.” The show will open Nov. 19th
Here are a couple of shows opening this month that should be worth checking out…
1. C215‘s book launch in Paris: Community Service at Gallerie Itinerrance is a solo show for C215 and will also serve as the book launch for his upcoming Community Service book. The show opens on November 12th at 6pm.
2. Gallery Heist‘s 1-year anniversary exhibition: Till Death Do Us Part is a group show c0-curated by Allison and Garrison from Ad Hoc Art to celebrate Gallery Heist’s 1st birthday. The list of artists here is long but includes Gaia, Ludo, Mike Giant, Justin Lovato and Miso. The show opens on November 13th from 7-11pm, and runs through the 27th. And this show is not at Gallery Heist’s usual space. It’s at 1036 Hyde Street in San Fransisco.
3. Ghostpatrol and DeadLeg in Manchester: Mooch N4 in Manchester has a group show towards the end of November. I don’t know much about Mooch N4, but anybody who is showing Ghostpatrol outside of Australia is okay in my book. And DeadLeg has done some nice collaborations with Best Ever, so that should be interesting too. That shows opens on November 25th and runs through January 31st.
One of my roommates came by a few minutes ago and asked “So, did shit hit the fan?” He knew I was posting something about Underbelly yesterday, but he’s not really the artsy type so he didn’t know quite what it was.
Well indeed shit has hit the fan, but mostly in a good way so far. The Underbelly Project made it into The New York Times and The Age. Also, Ian Cox and Luna Park have posted their photos on their respective blogs. And their photos are much better than mine, so check them out.
It seems most people are liking the project, even if some have some reservations. As one commenter on my last post pointed out, maybe you had to be there to experience some of the awesomeness, but it’s still pretty cool. I think that’s a fair assessment. Some artists’ work is best viewed in person, and the best artworks in The Underbelly Project tend to fall into that category. Posterchild put up an interactive sculpture, and Dan Witz’ art is definitely more powerful when it comes as a surprise and in person.
But there’s been one criticism that I absolutely don’t buy: That The Underbelly Project was conceived and executed purely for commercial gain. Yeah, later this week I’ll be posting a trailer to a documentary about the project, but the organizers, who I think are two very bright people, would have to be complete idiots to do this project if their only interest was a sick book deal. Yeah, there are street artists and graffiti writers out there who do illegal work to get attention and doing well-promoted street art can sell a painting or two. I’ve called out people on doing things like that before. That said, the scale and risk of The Underbelly Project is greater than what could be often by any likely monetary rewards. It would be much easier and less risky to either fake the entire project in a warehouse somewhere or just do something that relies on one or two big events instead of a year of secrecy and dangerous activities. I highly doubt that The Underbelly Project will be an efficient way to make money for the participants, even with any future books or films or anything like that. When I was first told about The Underbelly Project, it was little more than an idea, and the idea was to create a secret street art and graffiti Mecca, not to make a million bucks.
Here are some more photos from down in the tunnel:
Lister. Photo by GarrettSinboy. Photo by RJSurge, The Flower Guy, Stormie, Indigo and somebody I don't know. Photo by RJPhoto by GarrettPhoto by GarrettGaia. Photo by PACMark Jenkins and Con. Photo by WorkhorsePaper Twins and 1010. Photo by PACM-City. Photo by WorkhorseLister. Photo by RJJeff Soto. Photo by RJRoa, Revok and Ceaze. Photo by RJ
I’ll continue this week to post more photos, but you can check out a more full set of my images on flickr.
This summer, I sat in a massive pitch-black room and muttered “Holy shit. Holy shit. Holy shit. Holy shit…” over and over again. I couldn’t stop repeating “Holy shit” for maybe for five minutes. I’d been anticipating this moment for nearly a year. I was somewhere underneath New York City. I was waiting to be shown The Underbelly Project. Technically, I was there to take photos, but really I didn’t care at all if images came out or not. Really, I just wanted to see firsthand what was going on 4-stories below the streets of New York City.
Revok and Ceaze. That light comes from the lights that were set up temporarily for an artist who was painting that night.
Imagine Cans Festival, FAME Festival or Primary Flight: Some of street art and graffiti’s best artists all painting one spot. That’s kind of like The Underbelly Project. Except that The Underbelly Project took place in complete secrecy, in a mysterious location and without any authorization. Over the past year, The Underbelly Project has brought more than 100 artists to an abandoned and half-finished New York City subway station. Each artist was given one night to paint something.
Know Hope had this entire room to himself. What was this room meant to be? An elevator shaft? An office? I have no idea.
Workhorse and PAC, the project’s organizers, have put countless hours into their ghost subway station, and now they’re finally ready to unveil it to the world, sort of (more on that later). So I guess that’s why I was in that dark room, sitting in silence, waiting for them to give me a flashlight. I’m still not sure why I’d been extended the invitation to see the station firsthand, but I couldn’t be more grateful for the opportunity. The Underbelly Project is going to be part of street art history.
Surge, Stormie Mills, Remi/Rough and Gaia
Eventually, Workhorse and PAC came over to where I was sitting and lent me a flashlight. I stood up, already coated in dust and probably dirtier than I’ve ever been, and got a full tour of the station. I’m not somebody who is good at estimating the size of a space, but The Underbelly Project took place in a space that was meant to be a subway station, so I guess it was the size of a subway station with a few tracks. The station is like a concrete cavern: random holes who-knows how deep into the ground, dust thick like a layer of dirt, leaky ceilings and hidden rooms. Except the whole station is covered in art. Think of FAME Festival’s abandoned monastery transplanted to beneath New York City. I’m not an urban explorer, so I had no idea that there are abandoned subway stations throughout New York, but The Underbelly Project seems like just about the best possible use of one.
Of course, having been down there myself, I’m going to be prone to hyperbole. Even at it’s simplest, even if The Underbelly Project is “just another mural project,” it’s a story that the artists can tell for years, and it may even be evidence that street art isn’t so far gone and corporate as some people have suggested.
Swoon and Imminent Disaster. Disaster's piece is stunning beyond belief and fits the space so perfectly.
The list of artists who painted for The Underbelly Project goes on and on, but here are just a few:
Swoon
Gaia
Know Hope
Revok
Roa
Dan Witz
Jeff Soto
Faile
Mark Jenkins
Elbow-toe
TrustoCorp
Mark Jenkins and Con. This is at the end of a long and dark tunnel that, at the time, was not otherwise painted.
On my visit, The Underbelly Project wasn’t finished. In fact, somebody was painting there that night. Nonetheless, the space was already substantially painted and postered. I spent that night wandering around the tunnels, taking photos and getting lost (and also scared – Damn you Mark Jenkins! You can’t put a sculpture like that at the end of a darkened hall. I thought it was a person!).
TrustoCorp
And what now? The walls have all been painted and the artists have moved on to new projects. When the last artist finished painting the last wall, Workhorse and PAC made access to The Underbelly Project nearly impossible by removing the entrance. Even if any of us wanted to go back (and I do), even if we could remember how to get there (and I don’t), we can’t. Nobody can. For now, The Underbelly Project has become a time capsule of street art, somewhere in the depths of New York City.
Meggs
Brad Downey once explained to me why he thought Damien Hirst’s diamond skull is interesting. It had something to do with what people would think of the skull in 1000 years, when its original meaning has been lost to time. That’s when the skull is going to become a true icon and object with immense power. In some ways, The Underbelly Project is like Hirst’s skull, without the price tag. One day, decades from now hopefully, somebody may rediscover that old subway station and have no idea what they’re looking at. Hopefully, they’ll just feel that it’s something incredibly special.
Dan Witz. This was the first time I'd seen his street art in person. It's the perfect setting for Dan's Dark Doings series.
Here are some more images from The Underbelly Project, and expect more over the coming days on Vandalog and around the blogosphere… Or you can pay £1 to read an in-depth article about it in today’s Sunday Times.
Stash (well, part of his piece). This is another room like Know Hope's area.Swoon and ListerL'Atlas, Mr Di Maggio, 1010, Paper Twins, Bigfoot, Control/Jice. Photo by WorkhorseFaile. Photo by PACSkewville, PAC, SheOne, Revok/Ceaze. Photo by PAC
As you may have seen mentioned on my Twitter, I’ve been working with a few artists that I admire to make a series of t-shirts.
Today, the first three in a line of Vandalog t-shirts are available online. All three are designs are artworks by people that I admire. These aren’t your standard artist collaborations though. There are a few things that make these shirts unique. Yes, Vandalog now has a clothing label, but nowhere on these t-shirts will you find the Vandalog name. This project was conceived as being about the artists as much as possible. Additionally, these aren’t the sort of thing that you’ll find 40 of in every Urban Outfitters throughout the world. There are less than shirts 40 with each design in the world. That was intentional. These t-shirts are screenprints, except that they were printed on fabric instead of paper and they aren’t signed by the artists. Luckily, all these shirts are significantly cheaper than screenprints on paper, at $30 each plus shipping.
Faro’s shirt is an edition of 34. Faro is a mummy-obsessed artist and graffiti writer who you may have seen around New York City. His graffiti is cool and it’s how we at Vandalog first heard about Faro, but his drawings are what really sets him apart, which is why Faro’s shirt is based on this drawing.
Other
Troy Lovegates aka Other’s shirt is an edition of 35. Troy Lovegates is a Canadian artist who likes to draw outside, often with his friend Labrona, as well as make beautiful prints and paintings indoors. I’d say Troy is probably my favorite Canadian street artist. Also, he recently had a cool book of his art published.
All these shirts are available now at Vandalog’s online shop for $30 each plus shipping.
Some friends came over today and we had a bit of a photoshoot for the upcoming line of Vandalog t-shirts. More about that in the next few days. Here’s a teaser of the shirts. So next week is going to be an exciting one on Vandalog. In the mean time, here’s what I wish I’d spent more time covering (it’s kind of Swoon and Retna heavy this week though):
This, I may actually write about again before the show opens and I’ll certainly be mentioning it after the opening: Street/Studio 2.0 at Irvine Contemporary in DC. It’s a group show in two venues with artists including Swoon, David Ellis, Gaia and José Parlá. The show opens on November 6th.
I’m only half way through this video so far myself, but the producer and editor of Exit Through The Gift Shop recently took part in an in-depth video interview.
The opening night at Brooklynite Gallery for the “Portraits” show with Sten and Lex and I proved to be a great success, which came to no surprise considering the crowd’s the gallery has attracted in the past. Here are some photos from Brooklynite’s flickr page and some pieces from the show.
So the preparation for the Saturday’s show with Sten and Lex has thus so far gone swimmingly with the outside murals almost completely finished and the inside show basically hung. Here is a sneak peak of the work that will be featured in the exhibition. For more information visit Brooklynite’s site.
October 16 – November 6 Opening: October 16, 7-10pm
REQUEST A PREVIEW: info(at)BrooklyniteGallery.com
The world’s oldest known “Portrait” is believe to be created over 27,000 year ago. So why after all this time is it still the most often used subject of creation? A portrait often speaks much less about the physical features we are viewing, then it does about what’s behind the gaze in ones eyes or the telling angles of their mouth. This fascination continues to intrigue us through the work of three street artists who use traditional and non-traditional techniques to create their own brand of “PORTRAITS”.
Just because street art tandem, STEN & LEX are widely considered to be the pioneers of “stencil graffiti” in their Italian homeland, doesn’t necessarily mean they are content with resting on the title. Best known for introducing their “halftone stencil” technique, these two self-proclamined “Hole School” artists spend ample time hand-cutting pixel dots and lines to compose their imagery which is best viewed from a distance. Choosing to forgo the common pop culture imagery often associated with street art, STEN & LEX’s subject matter pulls no punches. Saints, Popes and the Italian Christian Church were primarily referenced early on –minus the often added social commentary. However, most recently and for their upcoming exhibition here, the subjects of choice comes from the historic Italian archives they’ve rescued. The 1960’s, 70’s and 80’s portraits from all walks of life are the focus this time around, as they are put through the rigorous transformation of stencil cutting style that is trademark STEN & LEX. The final appearance of these portraits appear to have been fed halfway through a paper shredder then pulled back at the last minute leaving the shreds left to dangle. The images are for the most part of common folk—young and old. People who have lived lives and have stories to tell. Just read their faces.
Seems as if the young, hard charging NYC street artist GAIA has been showcasing his bold imagery to the masses since before he could walk. Well maybe it hasn’t been quite that long but over the past few years he’s managed to garner a lot of attention by using more traditional techniques to create his wildlife animals and distinguishing human portraits. Taking a more intelligent, reflective approach to his work, this “old soul” uses wood block carvings and hand-drawn methods to achieve the fur textures of bears, tigers and rabbits as well as the worn lines in the faces of his latest portrait series entitled, “Legacy.” At it’s core, “Legacy” raises the question of infrastructure design and how we are forced to live with the decisions, good or bad, created by figures such as Robert Moses, James Wilson Rouse & Mies van der Rehoboth, all of whom have shaped parts of the American landscape. GAIA also plans on featuring a series of faded self portraits called “Sunsets”. Sunsets are a portrait of the nature of the street artist as an identity. It’s a pseudonym, to the person behind the work and the conflict between the secret, the collective and the fame of the individual. Some of the work is directly painted onto reclaimed street posters and found materials.
