Showing posts with label mural. Show all posts
Showing posts with label mural. Show all posts

Thursday, September 24, 2009

September 2009: Cope2 and Chor Boogie in L.A.

Back in the days of Biggie and Tupac, West Coast and East Coast never mixed. Today, it's totally acceptable to traverse time zones and share ideas. The latest show at L.A.'s Mid-City Arts exemplifies cross-coastal collaboration. This Saturday, the gallery presents "Beauty and the Beast," a collection of works by Cope2 and Chor Boogie. The opening reception runs from 7-11 p.m. Here's the goods:

"Cope2 is a graffiti legend from the Bronx whose reputation for bombing has earned him the title “God of Destruction”. He was recently tapped to customize a vinyl toy for the Bic Buddy Artist Series 1, and was hired by TIME Magazine to create a unique billboard for them."
"Chor Boogie hails from San Diego, CA, and his work is purely legal, spiritual and therapeutic. A deep spiritual healing and recovery from addiction nearly a decade ago transformed his life and has had a major impact in his style of color therapy and techniques of creative innovation."
"These two diverse artists come together for the "Beauty & The Beast" exhibit at Mid-City Arts, curated by Pose2 to challenge and expand our notions of art."
"Both artists have been featured in the media several times. Cope2 has been featured in a Converse/MTV Artist spotlight. Chor Boogie and Pose2 created an MTV ad."
Thanks, guys! For more photos, check the show's Flickr page. Tomorrow, we'll have one of the most somber posts ever on Illicit Exhibitions. Get ready.

Tuesday, September 22, 2009

September 2009: New Britain Mural Slam

Last Thursday, I had the pleasure of catching up with Mike Alewitz and his mural-painting class down in New Britain. We wandered the New Britain Museum of American Art and critiqued the work. Then, we sat down to chat about the Mural Slam. I couldn't be more excited, since I'm always looking for CT events that rock my socks. Here's the deal, courtesy of the event's Wordpress:

"The First Annual Mural Slam was held April 2008. It hosted dozens of artists, from experienced crews to young undergrads. Highlights included performance art, free food, awards, and watching CCSU Professor Mike Alewitz get a bucket of garbage dumped on him."
"The Mural Slam is part of a growing international movement which recognizes public art in every form–graffiti, tags, murals, etc.–deserves to be celebrated. In 2008, the Slam started with a mass of artists throwing their tags, stencils, and murals onto the walls of CCSU’s Welte Garage in an all day event. Artists of every type were given eight hours to paint in their section of wall without fear of prosecution or arrest–just friends, food, music, and art."
"This year, the tradition will continue–and everyone is invited. Ten bucks gets you a 4′x12′ slice of wall and 9hrs to do what you want. Any imagery is allowed, but use your judgment–we want to keep this going every year, so don’t paint something that will get us kicked off of campus. And remember: BYOP–bring your own paint."

"To register, e-mail the following to marissablaszko@gmail.com

. name of artist (tag okay)

. working with a crew?

. phone number where we can contact you

. best e-mail to use for contacting you

. age of artist (16+ only!)

. medium you’ll be working with (ie: spray paint, acrylic, etc.)

. whether or not you participated last year (and, if you did, what you painted)

A $10 sign-up fee per space is required to cover basic expenses of the Mural Slam."
Thanks a million, guys! I know I'm definitely going to snap some shots in the afternoon. Word has it that another guy I know might participate (go get it, Ben!). For more shots from last year, check the group's blog (and disregard the September 26 date).

Friday, March 6, 2009

Friday ProFiles: Siloette

Siloette’s pieces may be riddled with female faces, but these ladies are anything but prissy. One fierce female keeps watch over her neighborhood in the Bronx. On a building in Minneapolis, Minn., a daydreamer gazes into the distance. The elfin gypsy in Phoenix, Ariz., surveys the scene before taking flight. In Melbourne, Australia, this tough cookie doesn’t mince words; her eyes ask, “What are you looking at?” Strong and beautiful, Siloette’s women are as rugged as her concrete canvases.

But don’t pigeonhole her as a token representative; she abhors the idea of representing all women through her work. “Each person is different and each artist should think as an individual. I’m not interested in being typecast as a mascot for an entire body of work, let alone being branded by my gender, race, or style. I want to paint well. I hope to grow as much as possible as a person and as an artist. I hope I never have to ‘promote’ anything.” In 1996, Siloette passed by a storefront with 'silhouette' scrawled in decorative writing. “I loved the idea behind the meaning and the fact that it could be shortened so easily,” she recalls. “I decided to stick with it.” With a name and a can of spray paint, Siloette fearlessly took to the streets. “There were a lot of risky moves and crazy adventures that I jumped into early on. I think the fears came about later as I grew up and became aware of my own mortality.” Inspired by Art Nouveau and Art Deco, her bold use of color mixed with soft lines and intricate patterns created an unmistakable style. While she doesn’t define herself by her gender, she does admit that it comes into play on the streets. “There have been moments where my gender was a serious advantage,” she explains. “At other times, it hindered my ability to get up or handle a sticky situation. It’s not smart to go out on your own when you’re a female, especially when you’re in an unfamiliar city. That’s why it’s so important to communicate amongst your friends and crew. Create those lifelines and learn as you go.” Today, Siloette’s building her portfolio indoors. Taking a break from walls and traveling, she’s choosing to focus on fine art. Currently, she works as a freelance graphic designer and fine artist in San Francisco. By collaborating with Adidas, Converse, and custom snowboard companies, Siloette hopes to take her work off the wall through a variety of outlets. “I wrapped myself so tight in being on the move that I would like to sharpen a few things at this point in my life,” she adds. “I’d like to do way more sketching and work on improving my subject matter. I want to broaden my horizons for sure.”

All images are property of Siloette. To see more, take a peek at www.siloette.com.

That’s all for now! I’m going to spend my weekend translating a post from Jura Maurader in Kiev. Time to flex those Google Translating skills! Thanks to everyone who’s contributed this week; it’s people like you who keep this blog going! Have a great weekend and check in on Monday for the news.  

Tuesday, January 27, 2009

February 2007: Paris

Paris holds a special place in the hearts and minds of creators everywhere. Museums like the Louvre, le Centre Pompidou, and le Museé d’Orsay teem with masterpieces by Gaugin, Monet, and Degas. Writers gather in cafés in le Quartier Latin just like the Sartres, Prousts, and Zolas of days gone by. Considered one of the major cultural capitals of the world, Paris and its avant-garde scene is the quintessence of cool.
 
I paid a visit to the City of Light in 2007. During my trip, I explored the city’s prolific museums, lunched in its spacious parks, and wandered its vibrant neighborhoods. Combining mosques with churches and baguettes with baba ganoush, the city contained more Middle Eastern influence than I expected. In galleries or on the streets, I was inspired by the location, the creativity, and the people (Contrary to popular American opinion, I have yet to meet an unfriendly Parisian). I felt at ease and excited simultaneously; the city felt sleepy and electric at the same time.
 
Today, it appears that a new genre of art is exploding in this remarkable city. I noticed a colorful collection of street art decorating the historic landscape. From gothic architecture to modern post-war buildings, street artists displayed their creations on every available surface. Before, the French art scene was confined to gallery walls. Today, artists like Blek le Rat and Miss Van share their work on the street and garner attention at home and abroad. With countless new members emerging, the French scene continues to grow and expand stylistically.

In my first photo, Miss Tic's fierce female stared back at me from an apartment building. Roughly translated, the text says, "It's life; it will pass." After wandering for hours trying to find the Pompidou Center, I appreciated her message. Who knew that Paris had so many undocumented side streets? Clearly, not me or my tiny map. While I was tired and hungry, this saucy mama put things in perspective.

Next, I stumbled upon a little boy, a red umbrella, and a monkey. This graphic combined such unusual subjects that I was left with a lot of questions. Why is this boy hugging his knees? Is he trying to stay dry? Is he hurt or scared? And what is the monkey doing? Wacky.











My third photo was found in a small neighborhood as I searched for a place to eat. This sea foam green stencil of Ingrid Betancourt, a Colombian-French political activist held hostage by FARC for six years, carries even more significance since her 2008 release. 











On rue Descartes, I looked up to find this large mural and poem. Painted by Pierre Alechinsky, the mural illustrates "Feuilles d'automnes," a poem by Yves Bonnefoy. I certainly appreciate the trees of the city, but I also felt this poem captured how I feel about street art. I felt lucky to find these pieces and they opened my eyes to another side of Paris. Someday, I'd love to return and continue my search.

Wednesday, January 7, 2009

December 2008-Boston




Thanks to Will for sending this Bostonian gem over the wire. Shepard Fairey’s got a lot going on right now. His solo exhibit at Boston’s Institute of Contemporary Art opens on February 6. The National Portrait Gallery invited him to hang his Obama campaign posters in their hallowed halls. In the midst of all this press, he still finds time to hit the streets. I like the concept for Shepard Fairey’s “Duality of Humanity” collection. Finding parallels between the Vietnam and Iraq wars, Fairey updated photographer Al Rockoff’s snapshots. The resulting images pack a powerful punch with a hint of “Obey” style. If you can’t wait to catch some Fairey in the gallery, find him on Brighton Ave. in Boston.

“When I lived in Allston, I used to see this mural every day. It was plastered on the side of a bike shop by my old apartment. Although it's not technically illicit, I feel like it really exemplifies the spirit of this Boston neighborhood named after the artist Washington Allston. That and the overabundance of hipsters.”  















Here's the original Al Rockoff that inspired Fairey.

Saturday, December 13, 2008

March 2007-Belfast




NOTE: Sorry this post has become so mangled over the past two days. Being a fresh little blogger muffin straight from the oven, I'm still getting used to the format and posting procedures. 

After a ridiculous work week, it's Friday and I'm itching for a tasty post. I'll keep the text short and let the photos have their say.

In the spring of 2007, a day trip to Belfast sparked interesting discoveries. The city was completely different from the tank-infested combat zone of the 1990s. In the city center, posh shops lined the bustling streets while locals and tourists alike packed trendy restaurants. 






Straying from the CBD, however, the mood changed. The murals of Shankill Road and Falls Road shed light on the lingering tension between Catholic Unionists and Protestant Loyalists. On Falls Road, "Free Palestine" and "Santa is a British agent" stretched across whole buildings. These Unionist messages sharply contrasted the "Years of Resistance" and "Never Surrender" murals on Loyalist Shankill Road. Negotiations and treaties may have quelled the violence, but the historical roots of the problem are on display in this snug square mile.

What surprised me most about the trip was how disconnected I felt. Despite my Irish decent, I viewed the murals from a historian's perspective. Growing up miles from the source, I could not connect to the strong emotions fueling the fire. This conflict was never mine. I appreciate the Einstein stencil because he captured the absurdity that I felt. His playful face didn't fit in the middle of West Belfast and neither did I. Someday, I'd love to return and wrap my head around this complex city.