Nice One shows street artists that you can still do a great character without permission from the property owner (I assume given the other tags and half-finished scribbles on the wall).
Known Gallery will be showing both Cept and Remio later this month. I’m not sold on Remio’s indoor work, but his graffiti is definitely up there, and I’ve been a huge fan of Cept for year. I’m glad to see Cept getting some real recognition in the USA.
I’ve always thought that if I knew how to drive and own a car, I would have an artist paint it. Well, Kenny Scharf has been painting cars for fans lately and posting the pics on Instagram. I love the retro-looking results.
Plenty of photos of EKG’s ubiquitous tag along with an essay by the mysterious artist.
Before this, I would have been content to never see a new flag painting by Saber. He’s an amazingly skillful painter, but I was a bit tired of the theme. And then he made wooden pieces and I changed my mind.
Isaac Cordal sent over these recent images from his Cement Eclipses series. They are in France and Orebro, Sweden. The work in Orebro was for OpenART and the work in Nantes is for Le Voyage à Nantes and is just the start of his work in Nantes, where Cordal is currently working on an installation of involving 2000 figures.
As I tweeted the other day, my mind is kinda stuck on how much I wish the Parra show at Jonathan Levine Gallery opened today and not on Saturday so that I could go see it. So while I’ve been distracted by that point, here’s some of what I almost missed this week:
Nice video of Eine updating one of his walls in London from saying PRO PRO PRO to PROTAGONIST. Interesting comment about street art being a thing that “looked like it would offer what graffiti promised but didn’t deliver.”
Jonathan Jones is up to his old tricks of dissing Banksy to get more hits for his column, and I’m biting. He writes, “Banksy, as an artist, stops existing when there is no news about him.” Even if that is the case, is that the end of the world? Does that relegate Banksy to “art-lite”? No. Banksy is one of the most talked-about artists in the world. I would bet that the same criticism was leveled against Warhol, who I believe Jones likes. Banksy’s manipulation of the media, playing it like a damn violin sometimes, is some of his greatest artwork of all. He manipulates the media to spread a message. The best example of this was probably him going to Bethlehem to paint on the separation wall because he knew that the media would cover it. He was able to play the media to draw attention to an issue that he felt strongly about. Banksy’s paintings are sometimes great and sometimes not. But his ability to make people fascinated with him and his paintings is just as much of an art, and that shouldn’t discredit him.
Seeing this piece by Isaac Cordal for the MUU Street Art Festival in Zagreb, Croatia, I couldn’t help but think of John Ahearn’s sculptures where life-sized people sort of jump off the wall. Not that that’s a bad thing. Hell, it’s great. Isaac’s work is cool, and John’s work is too. I just want to make sure that John gets some credit as a possible inspiration for this particular piece of Isaac’s.
Isaac Cordal sent over these photos of a project, called Cement Bleak, that he did in London back in 2009. He sculpted portraits onto colanders, which look cool on their own, but also cast beautiful shadows.
Last Friday, Isaac Cordal‘s latest show opened up in Barcelona at RAS Gallery. Presented by SUBEN and curated by Maximiliano Ruiz, the show is a further look at the artist’s adaption of works into the gallery. Although still working outside, the artist (like most nowadays) are figuring out ways to adapt their works to translate indoors and on display. Using the environment around him, Cordal has successfully found his niche within a gallery, presenting his sculptures as commentary on the natural versus manmade in the form of interesting sculptural installations.
The show runs until 13 May at RAS. See SUBEN for more information.