LA’s Thinkspace Gallery was just in Philadelphia guest-curating a show at Gallery 309. Looks like the opening was absolutely packed, and with good reason. The show, LAX/PHL, includes installation from NoseGo and work by La Pandilla, Pixelpancho and many more. It’s open now through June 21st. I can’t wait to stop by myself as soon as I finish my exams.
LA’s Thinkspace Gallery is coming to my city of Philadelphia soon for a show they’ve curated at Philadelphia’s Gallery 309. LAX / PHL will include work from dozens of artists including Dabs Myla, Gaia, Ghostpatrol, La Pandilla, and Pixel Pancho, but the highlight is likely to be an installation by NoseGo. Thinkspace Gallery is suggesting that this show includes artists from the “New Contemporary Art Movement.” I call it that movement “The artists that Juxtapoz might cover,” but whatever. The point is, there’s gonna be a lot of really impressive artwork at this show.
LAX / PHL opens on Saturday, May 11th from 6-10pm, and runs through June 21st. There will be a second opening reception on June 7th from 6-10pm to coincide with Philadelphia’s First Friday art events.
This recent collaboration in Miami includes some of 2012’s breakthrough street artists sharing a wall: Ever, 2501, and Pixelpancho, plus a base (although I don’t have a good photo of this part of the wall unfortunately) by El Topo.
The rise in success of Living Walls over the last 3 years has been fascinating to watch. This is their second year at Miami Basel but their first year there curating walls. Indoors they’ll have a booth, showing the works of a few international artists like La Pandilla, Interesni Kazki, and some of the artists listed above, as well as a few Atlanta favorites. Definitely looking forward to seeing their contribution.
Pixelpancho and 2501 were recently in the Navajo Nation region of Arizona for the latest round of The Painted Desert Project, which has previously brought Gaia, Overunder, and others to the region. Here’s what Pixelpancho and 2501 managed to paint:
While Bushwick did not take the bulk of the damage in Hurricane Sandy, the area’s reliance on underground subways into parts of the city that are now without electricity left many artists trapped in Brooklyn. National and international flights, trains and busses were all canceled for days, leaving artists Pixel Pancho and 2501 with some time on their hands.
By way of Martha Cooper’s hospitality and driving skills, the pair made their way through the borough’s paint stores searching for the right colors before landing at Bushwick 5 Points. Enduring the smells emanating from the live poultry establishment on the corner, Pixel Pancho incorporated his style of rusted robots into the building’s gritty razor-wire and concrete exterior.
Meanwhile, 2501 added his geometric forms to the area of Bushwick 5 Points that is slowly housing the abstract work of fellow artists such as See One and Hellbent. Leaving town the following day, the artist put time to the test when creating his latest optical illusion.
As 2501 wrapped up his wall, See One and Hellbent continued working across the street on their massive collaborative wall. Through slowly building up layers weekend after weekend, the pair near the completion of their largest wall date. With jobs and trains canceled into next week, weeks of bending color and form could come to a close soon.
First of all, the frustrations in this post are pretty much the same that Caroline voiced in a post earlier this year about the All City Canvas festival. This year’s edition of the major Bristol mural festival See No Evil finished up recently, and I’m thinking that some great walls were painted. But how the hell can I tell? Other than Nychos’ wall, all the walls I’ve seen are in photos that have been filtered to hell because (I guess) that makes them more bloggable or tumblrable or whatever. Too often now, it seems like street art is more about the photo that will be sent to sites like this than the actual mural which should be meant to be appreciated by thousands of people every day. Photos are important, but rarely should the photo be more important than the actual work. I don’t think that the internet has to be the death of street art, but it damn sure could be when walls get painted for the purpose of taking filtered-to-hell photos of the finished product.
There were some talented artists painting at See No Evil, and the photos looks great if you think of them as photos untied to an actual mural that should be documented, but I’d like someone in Bristol to tell me how the murals actually turned out in-the-flesh. Here are some more photos that I was given from the event:
I’m sorry to pick on See No Evil about this issue. It’s not something that they started and it’s not something unique to them. They seem like a cool festival, but this is an issue which they are contributing to.