Last July, I spent two weeks in London documenting its street art and graffiti scene, my first return visit since 2009. I’d been warned by a number of people that I wouldn’t recognize the city. Yet the plethora of construction cranes and hoardings on the one hand, and shiny, new, glass towers on the other, were views I found very familiar. Much like New York, my home of the past 19 years, London is being aggressively redeveloped. The plummeting availability of affordable housing and systemic loss of studio space were frequent topics of conversation, anxieties only compounded by the uncertainty left in the wake of the Brexit vote.
Yet the streets seemed vibrant as ever, offering up a heady mix of small-scale, unsanctioned works in a variety of mediums, eye-catching graffiti, as well as a noticeably expanded offering of vibrant murals. As in many metropolises worldwide, the art on London streets reflects a melting pot of local and international talents. I was pleased to encounter works by British artists such as Remi Rough, Shok1, Mobstr, and Sweet Toof, to name but a few, alongside visiting New York stalwarts Dan Witz and Jordan Seiler. Discovering the geometrical graffiti of Goodchild and delicate, brass sculptural installations by Jonesy were highlights of the visit. And no visit to London would be complete without tracking down an elusive Banksy.
Luna Park’s first book, (Un)Sanctioned: The Art on New York Streets, highlighting 10 years of New York City street art, ad takeovers, and graffiti, was recently released by UK publisher Carpet Bombing Culture (it includes an introduction by Hyperallergic Editor-in-chief Hrag Vartanian). Luna Park will be speaking at the New York Public Library’s Mid-Manhattan branch on January 30 at 6:30pm.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.