This article was posted by Mare 139 1 Year, 3 days, 20 hours, 23 minutes ago.
Saw this post on Hollywood Reporter featuring homie Todd James who created the bear costumes for the Miley Cyrus ‘controversial’ VMA performance. Congratz to Todd and KAWS for putting their stamp on that show, it was a big deal and should inspire younger kids coming up to see the potential in using their craft to do big things like this.
This article was posted by Mare 139 1 Year, 1 week, 6 days, 18 hours, 37 minutes ago.
My Agents of Change mate Steve More is presenting a new series of works on Friday 23 August 2013 at Unruly Gallery in the Netherlands.
More started out as a graffiti artist in the eighties which explains his understanding of environment and used materials. Since 2005 he has concentrated on studio based abstract work, as well as collaborating on large-scale environmental projects with the collective Agents of Change. Having spent 7 years in New Zealand, he recently returned to Europe, where he now lives and works between London and Edinburgh.
As stated on his website http://www.stevemore.net: “Steve More is influenced by our shift in attitude towards time and place in the digital age. He observes a world where the hyper real has become the norm and a lifetime’s work can be viewed, consumed and discarded in seconds.
To explore the relationship between man and computer he incorporates elements from both the physical and digital world.” This unique combination of abstract, street, digital and the natural world makes him a significant pioneer in the crossover between the physical and digital.
For his show at Unruly Steve More will present new works as part of his ongoing Syntax Series and a selection of his latest concrete works.
This article was posted by Mare 139 1 Year, 2 weeks, 5 days, 19 hours, 2 minutes ago.
My brother Kel First is an iconic Style Master from the subway writing era who had an indelible impact on the culture of writing with his advance style and legendary partnerships with icons and kings like Dondi White, Crash One, SHy147, Cos 207, Min One to name a few. One of the most prolific Style Masters of his generation he best known for his productions on all city subway lines. Bowing out graciously after a long and productive career he graduated from Parsons School of Design with a degree in Communication Design and along with me became the first digital media advocates for Hip Hop culture in the very early 90s, we were the first to bring the culture online and into interactive media form. He moved on to become an accomplished designer and jewelry maker, father of 2, and husband.
While away from the scene his impact is felt far and wide and closely to the work Ive been making over the many years. He has mentored many and has earned a place in our canon revered only for the likes of true kings and influencers. A lot is owed to him and his partners during the late 70s and 80s who created the most memorable productions of the era.
I interviewed him in 2002 for ArtCrimes and felt that on his 50th birthday it is worth sharing with the community the thoughts of this important artist.
Mare: Who were your top two style writers and what were the differences between them?
Kel: Noc 167, “Imperial Master Blaster” as he often tagged, which was rare but it did happen. Noc had an advanced wild style that had found its way to many across all the boroughs. He helped foster the development and adaption of ghost writers among the elite wild style artists. The styles Noc created enabled many of his “students” to embellish on their own personalities and spawned many independent identities.
Part One, The Death Squad’s grand master, who single-handedly planned the most elaborate takeover of any MTA line in history. He brought many top writers out of retirement to follow his crusade on the old Broadway line. Part helped reestablish many of the style masters in modern-day wild styles.
Mare: You have had several of the best writers as piecing partners. Name two, and tell what you found unique about painting with them.
Kel: Of all the writers I shared the iron sides with, the most impactful was Dondi. He had a sense of control and understanding that missed most. His attention to detail and fine lines separated his work from the pack. A signature trademark was the continuity he kept in his work when painting in groups of two or more.
Min One; truly one of the most intense partnerships that pushed the envelope and help me define further my own approach to wild style. His insatiable appetite for perfection and total dominance in all of MTA’s lines fueled my vision in the latter half of my career. We took the RRs by storm and left many whole cars to prove we were the force few writers could take on.
Mare: If WildStyle is the apex of style writing, throw ups and tags are…
Kel: The signatures of graffiti, the marks that get you noticed and help determine your place in the food chain.
If your tag was weak you were immediately pushed to the back of the class and you took a whole lot of sh!t for it on the way.
Mare: How do you define a good WildStyle burna?
Kel: One that pays attention to the direction and shapes of the letters they create.
The shapes make sense, the colors complement their message and the roaring train makes their presence felt. The lines and their connections lead the visitor on a ride as wild as the train they rode in on.
Mare: What crews did you write for?
Kel: officially … TKA, The Kool Artists ROC, Roc On City CIA MEN, Crazy Insides Artists Da Rocstars TVS, The Vamp Squad RTW, Roc The World
Unofficially … This all changed of course after I had become a new force in the graffiti world. Once having established my presence in a world run by wild packs of writers, I was then invited formally and informally to become part of the larger world run by the elite artists. It didn’t matter if I put up another clique or not. The fact that I hung and my presence was there within that group helped establish both me and them as premiere artists.
Mare: What has life after the trains been for you? Why did you quit? And what did you do afterwards?
Kel: At first, leaving trains posed several new challenges for me — one I had to figure out what I wanted to do with it (in terms of making a living) and if anything, I knew I wasn’t interested in the gallery scene, so that was out.
I still loved graffiti and the impact I had locally and globally. I wanted to follow up with something that I felt as creative with, so all of this led down a path towards the digital world we now live in. My departure had more to do with me personally evolving as a creative person and seeking new ways to stimulate that passion.
Unfortunately, the new avenues of expression offered more compensation than fulfilling the creative side. This is something I still struggle with to this day in the world of clients and their objectives, which leaves no room for self-expression within the tasks developed for them.
My work eventually evolved into a company dedicated to corporate presentations and marketing products. The thrust of this effort is print design work with new-media integration. So for all prospective clients reading this article: Holla! http://www.kel1st.com
The focus still has some of the energy that once ran rampant on the sides of transit, except that now it’s developed an intellect. So it makes its way into the work with an objective to its mark and an understanding of the world.
Mare: Do you think you would ever lose your style, or is it ingrained?
Kel: It’s ingrained, it’s a feeling I can’t lose — I still see it in my mind and feel it in my scriptures. To lose it would mean I couldn’t feel it anymore or see it.
Mare: How do you view all this next generation of WildStyle art?
Kel: They’re more like fine illustrators than they are style masters or style killers. The work I have seen shows a great deal of control, add to that the high level of detail some of their illustrations have — it makes them ideal candidates for commercial work. In short, I like some of what I see but it’s from a non-graff point of view. If I looked at it from a graff point, the art still ranks high, but I can’t say the same for the lettering developed.
Mare: What is your favorite bombing memory?
Kel: Hitting Esplanade layup and having done a top-2-bottom end-2-end, and a half top-2-bottom, and three window-down wild styles. And then upon leaving the tunnel, I see two more wild-style whole cars I did with Cos 207 and Shy 147 laid up. Unfortunately, the pieces were crossed out. But still, in all, I had the most. (5 window-down whole cars and one-and-a-half top-2-bottom whole cars all done in the same week!). All new work with a group of about 12 top-notch writers coming out of the tunnel.
Mare: How is bombing on trains relative to digital graff on the Web?
Kel: It’s not — we can’t even bomb the Internet and get away with it — so the concept of relativity is non-existent. Digital graffiti will make anyone a legend if you don’t read the history or find out about it on your own.
The pervasive use of computers by underground artists will help them make a living of some kind without needing to go out and develop new personalities in order to fit again into society. It is both good and dangerous.
There will be a lot of knock offs and fakes. We will see skills tested and pushed hard to exploit this new medium but without some kind of physical outlet and expression, it is dead.
In short I see no connection with bombing and digital graff, unless you are going to start putting up 60-foot posters that cost hundreds of thousands of dollars to print and put out. Computers allow us to make changes in a world where they really don’t exist. We can’t go back and change the fact I used Cascade Green for a cloud on a car and now I want it to be Marlin Blue.
It comes down to this … The computer has taken the place of paper and pen and sometimes paint. What we do with it can still be called graffiti if its true intentions are kept real.
This article was posted by Mare 139 1 Year, 1 Month, 2 weeks, 4 days, 11 hours, 13 minutes ago.
Hip Hop Icon, Darryl “DMC” McDaniels of Legendary Group RUN DMC Launches Kickstarter Campaign To Fund A Project That Will Change Pop Culture Forever!
Darryl “DMC” McDaniels, a founding member of iconic rap group, RUN DMC is embarking on his next project that is aiming to change the face of pop culture forever! Combining two of his first loves, hip hop culture and comic books DMC is ready to throw his hat into the ring as an independent publisher with an original comic set to be released Fall 2013.
Already a hero to his millions of fans around the world, DMC’s accomplishments read like a laundry list of musical and cultural accolades: Grammy nominated musician, multiplatinum recording artist, Rock-N-Roll Hall of Fame inductee and rap/rock pioneer who’s influenced music since the first time he’s ever touched a mic. Adding to his long lists of firsts, DMC is teaming up with some prominent fixtures in the comic book and music world to craft the first 100% authentic, unapologetic, indie, hip hop comic book. This latest endeavor is helmed by Art Director Edgardo Miranda-Rodriguez and Music Executive Riggs Morales.
The first book published will be the 48 page graphic novel, DMC, under the imprint, Darryl Makes Comics. Darryl “DMC” McDaniels is the Publisher, Edgardo Miranda-Rodriguez is the Editor in Chief and Riggs Morales is the Senior Editor. The graphic novel will feature some of the comic book industry’s finest talent. Pencils and character design are handled by International star artist, Damion Scott (Batman, Batgirl, Robin, Solo and Spider-Man) while inking will be provided by Dexter Vines (Superman, Batman, Civil War, Wolverine). The writer on this book is Ronald Wimberly, writer of the critically acclaimed “Prince of Cats” on Vertigo/DC. There will also be a limited collector’s edition printed as a large format 11” x 17” graphic novel, featuring cover art by legendary Marvel artist, Sal Buscema (Avengers, Spider-Man, Incredible Hulk).
Set in hip-hop’s revolutionary era of the 80’s, the first comic features DMC as a superhero fighting for justice in an alternate universe. Wild Style-inspired graffiti covers every surface of this world as the true grit of pre-Giuliani New York is captured within the pages of the graphic novel.
Edgardo Miranda-Rodriguez is a New York based Art Director extraordinaire who owns and operates two very successful art studios, Somos Arte and Studio Edgardo. An avid comic collector, Edgardo translated his love for comic book art by curating an exhibit for Marvel’s Chief Creative Officer, Joe Quesada’s “Santerians,” a project highlighting comic’s first ever all-Latino super team. Riggs Morales, a music veteran, started as a as a writer for publications such as The Source, Vibe, XXL and The Fader and was crucial in introducing the world to another rap supernova, Eminem. He later became A&R executive at Shady Records, forging the superstar careers of Slaughterhouse and 50 Cent. Riggs Morales is now Vice President of A&R and Artist Development at Atlantic Records.
Edgardo and Riggs first joined forces to create the landmark exhibit “Marvelous Color” which highlighted Marvel Comics’ African American super heroes during the company’s 70th Anniversary. The exhibition was sponsored by Shady Records and Def Jam, which showcased the art of Wu-Tang’s Wu-Massacre by renowned X-Men Artist, Chris Bachalo. After the successful exhibit they bonded with DMC over a love of comic books and art. Inspired by DMC’s vision, the three immediately decided to pursue DMC’s dream of becoming a comic book publisher with Darryl Makes Comics.
Staying true to the independent spirit of hip-hop, DMC is self-funding this new chapter and invites everyone to share in the experience by contributing to get the comic book made via a Kickstarter campaign. The entire project is going to be funded by contributions, making this a true labor of love to be shared and produced with his fans. Editor in Chief, Edgardo Miranda-Rodriguez states it best, “It gives us an opportunity to be the first hip-hop comic book publisher and be completely funded by the fans whose reward is this actual historic book.”
“I like Run DMC but I love DMC. No one ever sounded like DMC, no one ever looks like DMC. He’s like a superhero.” Chris Rock, Rolling Stone.
This article was posted by Mare 139 1 Year, 1 Month, 3 weeks, 2 days, 22 hours, 17 minutes ago.
BAZEL GALLERY presents ALICE MIZRACHI
in her solo exhibition,
“WINDOWS OF LOVE”
“Windows of Love,” presented by Bazel Gallery, features select works by artist Alice Mizrachi that explore and celebrate the many facets of love.
Alice paints the simple exchanges of love she glimpses while people-watching and depicts them in her paintings as snapshots, to share that fleeting moment of connection we feel when we are witnesses to love. Whether it’s the love of a father and child, friends, lovers, love for animals, nature, home or the love of self, Alice encourages us to notice that love, in all its multidimensional facets, is often felt as recognition.
“There are two basic motivating forces: fear and love. When we are afraid, we pull back from life. When we are in love, we open to all that life has to offer with passion, excitement, and acceptance. We need to learn to love ourselves first, in all our glory and our imperfections. If we cannot love ourselves, we cannot fully open to our ability to love others or our potential to create. Evolution and all hopes for a better world rest in the fearlessness and open hearted vision of people who embrace life.” – John Lennon
Opening Reception: Thursday, July 11, 2013 from 20:00-22:00
This article was posted by Mare 139 1 Year, 2 months, 3 weeks, 3 days, 18 hours, 55 minutes ago.
Estria Foundation Launches Kickstarter Campaign to support Art Battle and Festival
The Estria Foundation has launched a Kickstarter campaign to support the 6th Annual Estria Battle and Art Festival. The Estria Battle and Art Festival is a series of art events building community, promoting positive messages, and investing in the creative expression of young people.
“The Bay Area loves these events and more than 6,000 will come to the Battle and another 20,000 to the related events,” said Estria Miyashiro who founded the Battle and Festival in 2007. “We really believe this is a valuable celebration of community and urban art and that Kickstarter is a great way to ask people to invest and participate.”
Donors to the Kickstarter campaign can select limited edition rewards like art prints by Favianna Rodriguez, Vogue (TDK), Apexer, Chor Boogie, Vyal One and other printmakers and street artists. The rewards also include prints of archived Estria Battle canvases, street art postcard packs, and t-shirt and hoodie designs by Jesse Hernandez. Donors at the highest levels can even have Miyashiro create a mural for them.
The Kickstarter campaign runs until July 11th and aims to crowd-raise $25,000 to help pay for items like canvases, supplies, food, travel costs, and construction fees. Those who wish to participate or learn more can visit http://ht.ly/lMzbM for the Estria Battle and Festival’s Kickstarter page or visit http://www.estriabattle.com.
The Battle and Festival Events
The Estria Battle brings 16 of the top urban artists to Oakland to battle in a live painting event rooted in positive community messages and social justice principles. The Battle is held at the Life is Living Festival in West Oakland on October 12th and is presented in partnership with Youth Speaks, Inc.
To begin, a one-word theme is revealed. “Grow,” “Heal,” and “Live,” were used in previous years. After learning the word, artists have five hours to paint a positive, technically and creatively excellent large canvas while people of all ages enjoy.
The Battle includes:
The Blackbook Jam, where youth are given 3 hours to create sketchbook pieces based on a positive theme.
The Youth Group Art Jam invites teams from arts organizations to create positive works of art. Judges reward the top pieces.
The Stencil Workshop, youth design their own t-shirts. Each shirt is a unique, personal souvenir of their participation in the Festival.
Events surrounding the Estria Battle include:
The Estria Battle Art Gallery Exhibition (October 3rd – 31), showcases the work of nationally renowned artists who have made their name in public art.
The Art in Public Slideshow (October 10), invites 10 artists to present 20 of their images for 20 seconds each and invites viewers to discuss work usually only seen on the street.
In-School Workshops bring classroom instruction and demonstrations to a local school. Artists offer hands-on lessons and talk with students about art careers.
The Sunday Paint Jam (October 13th) invites artists to paint the outside walls of an Oakland school.
This is an important time for the artists to give back to the community
This article was posted by Mare 139 1 Year, 3 months, 6 days, 2 hours, 22 minutes ago.
Id like to share the current exhibition of an artist whose work and process is mesmerizing. Naturally gifted and uniquely talented with style writing and arabic calligraphy Vincent Abadie Hafez is an artist to keep your eye on. In recent years there has been a recognition of contemporary artists from the Middle East and those of Islamic origin, by acknowledging them and their history as an integral part of our collective writing and artistic history we enrich and fortify ourselves.
VINCENT ABADIE HAFEZ at David Bloch Gallery Casablanca Morocco
Cosmopolitan, the work of Vincent Abadie Hafez is the result of crossbreeding of several cultures. By 1988 under the pseudonym Zepha that he invests in the graffiti movement. It is a suburb of Paris that he began to impose his name and his team,since he will not stop…
He take place of public space and hustles certain visual habits: Just like a word written on the sand, his art is ephemeral and accessible to all.
Vincent Abadie Hafez developed a visual language and a universe in which intersect the craftsmanship of ancient civilizations, the movement of free Figuration, Abstraction lyrical and street art.
Aesthetics at the intersection of two worlds, ancient and modern, revealing a balance of instinctive feature and reflected composition in which the cosmic space collide with the small infinitely.
The hybrid configurations reveal various aspects, mixing mediums and crossbreeding techniques ... Giving Anthropomorphic totems in two dimensions, worn by erosion on which appear traces, signs and symbols calligraphic.
A breath graphic composed of wild forms inhabited of a rebellious energy, which highlights an inherent order to balance the universe, and reflected even in a supposed chaos.
Contrasts, oppositions and complementarity enrich a production of works produced in multiple formats, worn by time, memory carriers, the result of a questioning of this world seem to forget the very principles of its existence ...