Books

A lover of words — both spoken and written — I’ve been a huge fan of Jay Shells’ (Jason Shelowitz’s) ambitious rap project from my first glimpse of his site-specific mural on Myrtle and Broadway several years ago. The recently released The Rap Quotes Coast to Coast — published by Dokument Press — is a photographic foray into Jay Shells’ brilliant urban interventions installed in several key cities from 2013-2018.  Accompanied with maps of site-specific rap lyrics, it is an homage to hip-hop, the spirit of the streets and to street art.

Traveling with photographer and award-winning videographer Aymann Ismail, Jay installed over 400 site-specific interventions. Largely displayed as street signs, the rap lyrics sometimes surfaced on billboards, bus stops, phone booth advertising takeovers and painted murals.

While the first segment of the book focuses on NYC — the birthplace of hip-hop in the early 80’s –The Rap Quotes Coast to Coast  also transports us to neighboring Philly, across the country to LA and then to Atlanta and Houston.

Providing a window into the psychology and cultural differences among the varied sites, the playfully poetic lyrics are witty and sly and— in the vein of rap — often hyperbolic. And offering further insights into it all, each city documented in The Rap Quotes Coast to Coast is introduced by a hip-hop journalist. 

The Rap Quotes Coast to Coast is widely available in bookstores and online and can be purchased here.

All photos courtesy Dokument Press; book review by Lois Stavsky

{ 0 comments }

Comprised of interviews with 17 American and European artists who use the stencil technique as their principal means of expression, STENCILISTS POCHOIRISTES, by art and culture enthusiast Serge Louis, has arrived in New York City! Featuring 444 pages and 273 illustrations, along with an introduction by stencil art connoisseur Samantha Longhi, it is Serge Louis’s second book devoted exclusively to stencil art. I recently had the opportunity to speak to Serge:

What spurred your interest in stencil art?

I’ve always been passionate about alternative forms of expression and how and why they surface. Why do folks create stencils? And how do they go about sharing them with others? And stencil art particularly appeals to me because it’s an ideal way to translate and share a message.

Yes. Stencils are quite an accessible means of communication. When did you begin working on this book?

I’ve been interested in stencil art for over a decade, and I had already published one book on the theme. Pochoirs et Pochoiristes à Bruxelles specifically focuses on Brussels’ rich stencil art scene. Three years ago, I began this book of interviews and images produced by artists in both America and in Europe.

Have you any early memories related to stencil art? Or any that stand out?

My earliest memory is of a very simple black and white one. Every stencil stands out in some way. Each one is something new. Each one is a surprise. Since I started paying attention to stencils, the way I view my environment has changed. Each city is distinct. And when I visit someplace new, I feel as though I’m on a “hunt.”

I can certainly relate to that! What were some of the challenges you encountered in producing this book?

The main challenge was convincing the artists to give me the time I needed to interview them in depth. Their time is precious, and they had to feel that taking the time to share their experiences was worthwhile and would interest others.

How can folks get a copy of STENCILISTS POCHOIRISTES?

Along with several of the artists, I will be at 212 Arts — 523 East 12th Street — on Saturday afternoon, June 1, and I will be signing copies of the book. You can also order the book through the publisher.

What’s ahead?

I’ve begun sorting through photos for my next book, and I have already interviewed six artists.

Good luck with it all! And Saturday’s book signing at 212 Arts is certainly a cause for celebration!

Interview conducted and edited by Lois Stavsky; photos courtesy of Serge Louis

  1. Cover of book featuring stencil art by those artists interviewed for STENCILISTS POCHOIRISTES:  Ben Spizz, Billi Kid, Crisp, Dave Lowell, Dipo, Docteur Bergman, ENX, Jaune, Jinks Kunst, Logan Hicks, Nice Art, Niz, Praxis, Raf Urban, Spencer, Stew and Tripel
  2. Austin, Texas-based Peruvian native Niz
  3. Brooklyn-based Colombian native Praxis
  4. New York-based Colombian native Billi Kid
  5. Austin, Texas-based Dave Lowell
  6. Brooklyn-based, Baltimore-raised Logan Hicks

{ 0 comments }

Since September 26, 57 Great Jones Street — the former home and studio of Al Diaz collaborator, Jean-Michel Basquiat — has been the site of Same Old Gallery, a multimedia exhibit showcasing Al Diaz ‘s masterful wordplay and inventive aesthetic. Curated by Adrian Wilson and Brian Shevlin, it features a diverse array of new work by Al Diaz, in addition to historic photos and memorabilia from back in the day when the SAMO© tag that he and Jean-Michel Basquiat had conceived was the talk of the town. Several photos I captured while visiting the space follow:

Mixed media with stencil art

Another contemplation on the brevity of it all

Mixed media musings

With a message for these times

The 1978 Village Voice article that reveals SAMO©’s identity

And this weekend marks the launch of Al Diaz‘s book with a signing and talk

Photos 1-6: Lois Stavsky

{ 0 comments }

The latest, soon-to-be-released edition of the street art coloring book series by Aimful Books, created by Diego Orlandini, features images of murals from the streets of Brooklyn, NYC’s Mecca of urban art.  Intent on contributing to educating children across the globe, Aimful Books matches every coloring book purchased with a free textbook to a school-age child. Its ultimate goal is to provide a million free textbooks to children by selling one million street art coloring books.

Deftly curated, The Brooklyn Coloring Book features the talents of over 40 artists who have shared their visions with us on the streets of Brooklyn. Among them are: Shiro, Chris RWK, Icy and Sot, Beau Stanton, Lady PinkAlice Mizrachi, Esteban del Valle and Denton Burrows.

And you can win a free copy of the $25.00 Brooklyn Coloring Book before it’s released to the public!

  • 76 premium pages
  • Perforated pages easy to detach to frame or gift your masterpieces
  • Spiral-bound for easy folding
  • 7.87 in x 7.87 in
  • Artworks of 48 world-class street artists
  • Full-color directory
  • Buy One Give One Initiative

For a chance to win a free copy, go to www.aimfulbooks.com/giveaway to participate in 10 seconds or less.

Images

  1. Shiro
  2. School children in Peru
  3. Chris RWK at work
  4. Shiro (L.) and Icy and Sot (R.)
  5. Coloring book cover

All images courtesy of the street art-loving, socially conscious Aimful Books

{ 0 comments }

A huge sticker fan, I first discovered iwillnot‘s stickers almost a decade ago while combing the streets of DC in search of striking street art. Soon afterwards, I met him and was struck by not only his outstanding aesthetic sensibility, but his huge passion for stickers and its wonderfully democratic collective culture.

In his recently released and hugely popular book, Smashed: The Art of the Sticker Combo, iwillnot shares not only his story, but provides us with tremendous insights into the entire sticker culture.

Intent on trading his stickers with other sticker artists, iwillnot had early on established a network of artists to exchange sticker packs. He was soon installing sticker combos in cities throughout the East Coast. And in 2011, he began to envision “smashing an art gallery in a major city with thousands and thousands of stickers.” Smashed: The Art of the Sticker Combo documents the realization of this dream.

With the support of street art enthusiast and Fridge Gallery founder and curator Alex Goldstein, iwillnot curated a 12.5 feet tall by 20 feet wide 10,000 sticker installation in 2013. By 2016, the entire gallery was smashed with hundreds of thousands of stickers, representing over 500 artists from 15 countries. The 2016 DC Street Sticker Expo reached over three million people.

With dozens of photographs documenting it all, Smashed: The Art of the Sticker Combo is certain to appeal to all of us sticker art fans and street art aficionados. The book can be purchased through Amazon or directly from the author here. And if you would like to participate in this year’s DC Street Sticker Expo, you still can!

All images courtesy iwillnotthe third image features — Foes, Mr Say, Skam, Sore Infest (top) RX Skulls, Obit, Who, and Ride (bottom); book reviewed by Lois Stavsky

{ 0 comments }

Brilliantly countering any claims that feminism is dead and that the Hip-Hop culture “is detrimental to women and girls,” Jessica Nydia Pabón-Colón has written an impeccably researched study of the grrls who have paved their way into the predominantly male graffiti culture, claiming their own space.

Based on interviews conducted with over 100 graffiti grrls across the globe over the span of 15 years, the author, now an Assistant Professor of Women’s Gender and Sexuality Studies at SUNY New Paltz, provides us with a window into the minds, practices and experiences of a wide range of female writers crossing cultures and generations.

Among the many assumptions and false claims female writers often have to contend with are that they are writing graffiti to get noticed by guys or doing it to make their boyfriends happy. Or that they aren’t writing at all; it’s their boyfriends who are doing it for them. Rumors, too, regarding their sexual promiscuity are rife.

And yet, for various reasons, many are reluctant to identify as “feminists,” a term too often associated with man-haters. Pabón-Colón relates how when she first asked the famed bomber, Miss 17, if she was a feminist, her immediate response was a brusque, “No.” Five years later – in 2009 – Miss 17  had tempered her views, largely due to the friendships that she had developed with the likes of Claw Money and the author, herself.

Throughout Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora, the author convincingly advances both feminism and graffiti as positive and vital social and political forces. Australian artist Ivey, for example, recounts the pride she feels on seeing her tag up and credits the graffiti culture with helping her get through difficult times and motivating her to pursue her education after graduating from high school.

Whether of not graffiti grrls identify themselves as feminists or perceive themselves as political, Pabon-Colon compellingly affirms that their “performances of feminist masculinity” merge the fundamental social, cultural and aesthetic aspects of Hip-Hop culture with the feminist movement

Published by New York University Press, Graffiti Grrlz is the first academic study on women’s participation within the graffiti subculture. Appended with examples of black book pages, comprehensive notes and an extensive bibliography. Pabón-Colón’s work is a rich tribute to the grrls whose voices are too often silenced and a gift to all of us who love graffiti, perhaps the most significant art movement of our time.

You can order the book directly from the author with a special discount here. And follow news of her readings and signings here.

Note: The third image features NYC native Abby and the final one features London-based Chock painting in the Bronx.

Images courtesy of the author; book review by Lois Stavsky

{ 0 comments }

Recently released by Schiffer is Tokyo Graffiti, a delightfully intriguing and wonderfully informative survey of  Tokyo’s current street art and graffiti scene documented by London-born photographer David Sharabani aka Lord K2. After reading the book, I posed a few questions to Lord K2:

You’ve documented urban art in several cities and have previously published a book on Santiago’s rich street art scene.  What drew you to Tokyo?

Tokyo’s street art scene has never been documented and published before in a book of this format, and its urban art is relatively overlooked by locals and tourists alike. The walls and streets are so pristine and well-organized — many with an abundance of logos and commercials – that you may get the impression that street art is not needed. But when well-placed and in the right context, it enhances Tokyo’s well-planned and maintained architectural surroundings.

Also, I saw this book as a challenge. I was in Tokyo photographing the Sumo wrestling culture. The majority of my time was spent handling bureaucratic paperwork, and out of frustration and impatience, I decided to hit the streets. Initially, I wasn’t entirely sure there would be enough art out there to justify a book. But the more I dug in, the more hidden gems I discovered. Since Tokyo’s graffiti is not so apparent, I thought it would be a good idea to compile a book of some of the most significant pieces in one format to be viewed easily.

How does Tokyo’s street art and graffiti scene differ from other cities you’ve visited?

Regarding graffiti and art that is often regarded as vandalism, it’s not in the nature of Japanese to vandalize, rebel or speak up. Their economy functions well; there is virtually no street crime, and the education system is excellent. It seems that there is not too much to protest about. Also, conformism is an integral part of the Japanese way. Going against the flow of polite dignified behavior is considered a far more extreme form of misconduct than it is in most other countries.

Another distinct difference between Tokyo and many other cities is that in Tokyo it is a nightmare-of-a-process to obtain permissions, limiting the quantity of “decorative art,” even though the quality is generally high.

There are, though, a fair amount of stickers mounted in the highly populated central neighborhoods of Harajuku, Shibuya and Shinjuku, since these are quick and easy to put up with a minimal chance of being caught. Many of these stickers have been put up by foreigners.

What were some of the challenges you’ve faced in documenting it?

A big challenge was getting the artists to talk. They were happy to be interviewed, but cautious as to what they would reveal. It was hard to extract any juicy or emotive information. Fortunately, I was introduced to Little Pink Pills, who was already well-informed on the scene. She ended up writing the book’s text that accompanies my photos.

The other challenge was sourcing the graffiti. Even though artists would pinpoint locations, this didn’t suffice. I had to scout the streets for hours on end on my bicycle. I was inevitably much fitter for it.

Do any particular images or styles stand out to you? Any that are distinctly Japanese?

The mural that stands out most to me is one that was painted by German artist Case Maclaim. It’s a gigantic mural on the back of a building in Tennozu Isle painted for Pow! Wow! Japan depicting Sumo video game fighter E .Honda. It’s striking to see it in the distant urban scape.

Half the street art in Tokyo is painted by Westerners. They often incorporate images from popular Japanese culture such as Samurai, Geishas, Sumo, as well as comics that portray social issues. Japanese artists do not have a collective style of painting, as each individual/crew has its own distinctive style. Many of them incorporate less commercial elements of Japanese culture. For example, Usugrow blends Japanese calligraphy with pointillism and Los Angeles Cholo culture. Shizentomotel paints Namahage, a traditional Japanese folklore demon. Dragon‘s style is a fusion of graffiti, manga and ukiyo-e. Tamura Yoshiyasu, a manga artist, painter and illustrator, mixes modern manga with traditional Japanese art.

I’m so glad that you and Little Pink Pills made this book happen! Congratulations!

Photos 1 Book cover 2 Fin DAC 3 Unidentified 4 Kami and Sasu aka Hitotzuki 5 Assorted stickers 6 Little Pink Pills 7 Case Maclaim  & 8 Makoto; interview by Lois Stavsky

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

en-play-badge 2

{ 0 comments }

Louie-KR.ONE-Gasparro-kolorstorm-book

Born in East Harlem and raised in Astoria, Queens, Louie “KR.One” Gasparro has been sharing his vast creative talents — both as an artist and as musician — with us for decades.  “Louie was an original,” Sacha Jenkins writes in the introduction to the recently-released KOLORSTORM: The Art of Louie “KR.One” Gasparro. “KR was a master of paint at a time in graffiti when there were more court jesters than kings, more tags and throw ups than masterpieces.”  Earlier this week, I had the opportunity to catch up with the impassioned artist while visiting his studio.

Louie-KR.ONE-Gasparro-with-graffiti

It’s been almost three years now since your first book Don1: The King from Queens was launched with a panel discussion at the Museum of the City of New York. How has the response to that book been?

The response has been overwhelming. I put a light on a NYC graffiti master who had been forgotten.  He had influenced so many of us, but was living in obscurity. I was determined to uncover his story and share it with others. I spent nine years doing that. But my persistence paid off.  I had folks from Italy writing to me after the book was released.

Louie-KR.ONE-Gasparro-the-lost-art-of-the-tag-graffiti

And what about your current book? It’s quite impressive! How did that come about?

While working on Don1: The King from QueensI developed a relationship with its publisher, Schiffer Books. And when I proposed a book of my own works, I was encouraged to see it through.

I love the way your new book is organized into distinct chapters on different themes — such as The Early Days, Black Books, Model Trains, Abstracts, Walls and more. There is such an amazing variety of works and styles represented here, as well as a documentation of your journey as an artist — from subway graffiti pieces dating back to the early 80’s to contemporary urban art. How long did it take you to get it all together?

I spent two years working on it.  The greatest challenge was deciding which works to include. Originally, I had 600 images. I then had to cut that down to 400.

Louie-KR.ONE-Gasparro-subway-graffiti-Martha-Cooper

louie-gasparro-abstract-art

Kolorstorm is also an amazing foray into your inspirations and passions.  Can you tell us something about your influences?

There are many. Comic books, cartoons, graffiti art, rock & roll, heavy metal…

Who were some of your favorite musicians back then?

Among them are: Jimi Hendrix, Rush, Yes… For me — and for many of us — graffiti was never related to hip-hop. The connection was largely an illusion that was accepted by many as “fact.” Graffiti transcends all concepts of race, religion, culture and class. That’s what makes it so great.

Louie-KR.ONE-Gasparro-illustration-band-member

In what ways has your work evolved through the past few years?

The entire process has become easier. My artwork is more detailed, and my line works are better.

Your Abstrakts are on a whole different level! What inspired them?

I was just experimenting with colors and shapes. The Abstrakts evolved from the experimentation. I’ve been told that they are “informed by graffiti.” And so they may be!

Louie-KR.ONE-Gasparro-ART-AS-AN-ANSWER-exhibit-nyc

What’s ahead?

More art, of course! And opening Saturday (tomorrow) night is Art As An Answer, a one night only pop-up show with new works, presented by The Astoria Boyz and The Urban Foundation Gallery, at 208 East 73rd Street in Manhattan.

Congratulations!  It’s certain to be wonderful!

Images:

1. Cover of KOLORSTORM: The Art of Louie “KR.One” Gasparro, published by Schiffer Books

2. Louie “KR.One” Gasparro in his studio

3Louie “KR.One” Gasparro, The Lost Art of the Tag, True York

4. KR.One and Fome 1, IRT #2 Line, Bronx, 1982, Photo © Martha Cooper

5. Louie “KR.One” Gasparro, Abstract, Greyburst3

6Louie “KR.One” Gasparro, Band Member, Keyboardist

Interview conducted and edited by Lois Stavsky; images 1, 4, 5 & 7 courtesy of the artist; 2, 3 & 6 photographed by Lois Stavsky in Louie’s studio

Note: Hailed in a range of media from Wide Walls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

en-play-badge 2

{ 0 comments }

Dasic-Fernandez-and-Rubin415-street-art

Penned by photographer, writer, neuroscientist and street art aficionado, Yoav Litvin, 2Create: Art Collaborations in New York City is a distinctly elegant ode to the art of collaboration. Recently released by Schiffer Publishing, it was formally launched last month at the Bronx Museum of the Arts alongside a collaborative photography exhibit, 2gether: Portraits of Duos in Harlem and the South Bronx by Litvin and Tau Battice. A textual and visual documentation of the creative and collaborative process among nine pairs of artists, 2Create also presents first-hand accounts of each one’s early life and work.

Dasic-Fernandez-and-Rubin415-paint

Featuring such duos from NYC-based Al Diaz and Jilly Ballistic to the Iranian brothers Icy and Sot, 2Create: Art Collaborations in New York City showcases a broad range of styles, sensibilities and processes. It also introduces us to the specific locale — from Manhattan’s Union Square Subway Station to a Greenpoint, Brooklyn rooftop — of each of the collaborative works featured. With its astute insights and superb design, it stands out among the dozens of street art-related books published last year.

bunnyM-and- Square-paint-street-art

bunnyM-and-Square-street-art

After reading the book, I posed a few questions to Yoav:

Your first book, the highly acclaimed Outdoor Gallery: New York City, focused largely on individual artists. Why did you decide to focus on duos in this book? 

In contrast to other art forms, such as music or dance, the visual arts involve a more solitary practice. Painters are famous for being hermits: closing themselves off from the world in their studios where they paint their masterpieces. At least, that’s the popular narrative. I feel that because the visual arts are easily commodified and objectified, they have evolved in such a way.  While I was working on Outdoor Gallery, which focuses on 46 individual artists, I noticed several duos of street and graffiti artists who produced incredible works, and I was fascinated by their practices. In 2Create I seek to investigate the art and practice of collaboration in different mediums — collage work, screen printing, stenciling, graffiti and mural making. My goal with 2Create is twofold: to present the behind-the-scenes processes of these artists and to investigate the secrets of collaboration, with the ultimate aim of encouraging others to create together. Just like any skill, collaboration needs to be practiced!

Dain-and-Stikki- Peaches

How did you decide which duos to feature in 2Create?

My process with 2Create was mostly democratic. I was looking to present a diversity of styles, messages, mediums and locales. I am cognizant and weary of the politics involved in the arts and attempted to focus on artists that I felt were doing radical, innovative work and were constantly challenging themselves. Throughout my research on collaborations, I discovered there were two major categories that lie on a continuum — from complementary collaborations – individual works presented side by side – to integrative, a single piece that seamlessly integrates the work of two artists. I chose nine duos that present the full spectrum.

Icy-and-Sot

Icy-and-Sot-paint

What insights did you, yourself, gain into the collaborative process, particularly among visual artists?

Collaboration is a skill that should be practiced by any visual artist as part of his/her development. Collaboration is an exciting and stimulating process that can produce immense growth if approached correctly, but can be very challenging at times. An artist needs to respect and trust his or her collaborator and be willing to be adaptable and open to critique. The collaborative process can open new doors for an artist  — in techniques, messages, ideas and human connections that can be useful moving forward.

ASVP-2Create

The book, itself, is masterfully designed. Can you tell us something about that? 

For the design I worked with the designer Dan Michman, who is also an excellent childhood friend. It was important for me that every aspect of this project be collaborative. Dan is the best designer I know, plus I like him a lot and knew from experience that we’d collaborate well. Our process was incredible. Dan took my materials — images and texts — along with my notions on the artistic process and on collaboration, and created a stunning design “language” for the book. It was a truly integrative collaborative process. I could not be happier with the way it turned out. Plus, the cover design is simply stunning. Lastly, Schiffer Publishing did a great job in the book’s production.

2Create-cover

How has the response been to 2Create?  Is there any particular readership you’d like to reach?

The response has been overwhelmingly positive. In addition to appealing to the street art and graffiti fan crowd, my hope is that 2Create will integrate as a text book for art schools, colleges and universities. I believe the behind-the-scenes process shots, the revealing interviews and the insight into the art of collaboration make it a unique resource for artists in general, and visual artists in particular. But 2Create is more than a book on art. It is a document that presents the collaborative duo as the basic unit of a collective humanity in which empathy and collaboration trump disregard and domination. In an era of the cult of celebrity, war and climate change, collective action is not only beneficial, it is necessary. 2Create expresses these radical notions and I hope it will serve to inspire activists fighting for the greater good.

For more listen to Yoav speak on Counterpunch Radio here.

Images

1 & 2 Rubin and Dasic 

3 & 4 Bunny M and Square 

5  Stikki Peaches and Dain

6 & 7 Icy & Sot

ASVP

All images © Yoav Litvin

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

en-play-badge 2

{ 0 comments }

banksy-urban-art-in-a-material-world_edited-1

Penned by Ulrich Blanché, Banksy: Urban Art in a Material World focuses primarily on Banksy’s relationship with consumer culture.  With its thoroughly-researched appendix documenting everything from Banksy record album covers to his exhibition catalogs, it is the first comprehensive academic study of Banksy’s art.  An interview with the author follows:

Your book, Banksy: Urban Art in a Material World, began as a dissertational thesis.  Why did you choose to focus your studies on Banksy? What is it specifically about him that so intrigued you?

I was first introduced to street art and stencils in 2006 on a trip to Melbourne, Australia. And while visiting a museum bookshop there, I discovered Banksy’s book Wall and Piece. I was instantly fascinated and found myself going through it page by page. I liked the way each of his pieces has a distinct message or lesson that is transmitted in a humorous way.  I knew then that I would like to research and write about his work.

banksy-stencil-art

You draw parallels between Banksy and the contemporary British artist Damien Hirst. You discuss their collaborations, as well. Can you tell us something about that?  What are some of the essential similarities between the two? What did each have to gain by collaborating?

It might still shock some people that Hirst, the personification of capitalism, and Banksy, the art guerilla, collaborated. They knew each other since about 2000, and Hirst supported Banksy early on. It was kind of like Warhol and Basquiat.  The established artist gains coolness and the newer artist gains credibility.  The two artists admired each other’s works – and both Banksy and Hirst shared a morbid and humorous sensibility. 

Among Banksy’s subjects are both capitalism and religion – often merged in a particular image.  Do any particular images stand out to you? And why do they?

Banksy does not really focus on religion except in relation to consumption. Shopping/ Money is the god of today. No particular work stands out for me. Some are weaker; some are better.

banksy-in-nyc

To what do you attribute Banksy’s extraordinary commercial success?

I suspect that Banksy actually earns much less than people think he does. His income comes from the sale of prints, books, DVDs… The people who bought a Banksy for 50 quid 15 years ago or received a Banksy as a present have profited  tremendously.

As Banksy rails against consumerism, he — himself — is a master at manipulating consumers.  Why might we have become such a society of consumers? Any thoughts?

We are easily manipulated, even when we know we are being manipulated.

banksy-stencil-art-creative-commons

How essential are the streets to Banksy’s success?

The street is his canvas – it is the means he uses to communicate. To remove the street from Banksy’s work is like removing a figure from a Rembrandt. If you manage to keep the context with photos, videos, background info, the work may survive indoors – once it’s no longer on the street. In Banksy’s words: “’I don’t know if street art ever really works indoors. If you domesticate an animal, it goes from being wild and free to sterile, fat and sleepy. So maybe the art should stay outside. Then again, some old people get a lot of comfort from having a pet around the house.”

Where is it all going? Will Banksy’s popularity and commercial success continue to rise? Will Banksy continue to use the streets as a canvas? Or will he become less dependent on them? What are your thoughts?

Street Art is over.  Most works on the street today are authorized murals or pieces in areas where the artist wants to be seen and photographed by the “right” people — whoever that might be.  Street art has become urban art for Instagram. Banksy will last. He will put a few works on the street every year and pull off a big event every few years. I hope he will publish another huge book of his works or lead a little revolution somewhere. That would be fun.

banksy-stencil-art-shop_until_you_drop

Originally written in German and published by TectumBanksy: Urban Art in a Material World has been translated into English and is available here.

Interview conducted and edited by Lois Stavsky; images 2, 4 & 5 Creative Commons & 3 captured by Lenny Collado in NYC

{ 0 comments }