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.
A new study details the creation of a hyper-flexible material inspired by an unexpected source: the humble sea cucumber.
The extensive exhibition confronts the Netherlands’s often-forgotten colonialist legacy.
The 1,600-year-old fragment was part of a dodecahedron, a mysterious object that experts believe may have been linked to the occult.
The Renaissance work by Francesco Salviati is the museum’s first painting on marble.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?