Tag Archives: graffiti

TOKYONEWS illing in NYC

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We are excited to finally announce the release of the 4th installment of SGU (SpecialGraffitiUnit), art paper we publish a few times a year. Vandalism, trespassing and conspiracy charges, wilding in Roppongi with Yakuzas while getting thrown out of every club in Shabuya, #TokyoNews is your new guide to getting locked up abroad.

TokyoNews featuring Tanya Arakawa, Cat Marnell, Kamaryn Potter, Gogy Esparza, Osvaldo Chance Jimenez, Curtis Kulig, Greg Passuntino, … Continue reading »

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SABER, not ONLY a “Street Artist”

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SABER The American Graffiti Artist @ Opera Gallery, 15 Spring Street, between Mercer and Greene Streets, New York, NY, 10012

As street cred gains more art world cred, street artists increasingly pop up in the gallery. Opera Gallery presents SABER The American Graffiti Artist effectively displaying his art in “fine art” context. SABER’s works explore compositional text alluding to graffiti while reconfiguring American iconography. SABER transfers graffiti to the canvas, … Continue reading »

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From the “WU-mb”

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"Footsteps" by Louis Sarowasky

Executive Director & Owner of Gallery 151, Michael Namer restored a hidden graffiti-ed wall, which he had discovered in his SoHo building 151 Wooster. Numerous graffiti legends had contributed to the mural over time. At the 2007 grand opening of Gallery 151, Namer exhibited the infamous wall juxtaposed with works by “Jean-Michel Basquiat, Fab 5 Freddy, Keith Haring, Kenny Sharf, and ERO.”

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Since Gallery … Continue reading »

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“Well Hung” Artists: Feature on Andrew Poneros

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Andrew Poneros grew up in Queens; therefore he was introduced to the city’s graffiti at an early age. He renamed himself PORK, his tag, as a verbal poke at the subculture’s tendency to canonize misspelled words as tag names. To amend his street style, Poneros began to carve stencils out of cardboard removing his artistic stroke from graffiti. Stencils concentrate on textual design, not simply a name. Moreover, he utilized … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 3 of 3)–C’est fin! Yay!

Suiko, Eternity, Hiroshima (April 2007) Spray paint on wall.

The postwar (World War II) state of affairs of Japan dramatically paralleled the social postwar struggle during the Edo period; yet quite opposite of Edo-period concerns with national isolation, postwar Japan reflected upon globalization’s effect on Japanese identity. Due to the interrelations between nations, Japan’s feudal divisions between rural and urban areas weakened by closing the gap between incomes due to the American occupancy during the 1940s. Moreover, by the … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 2 of 3)

Figure A: Ippitsussai Bunchô, Lovers Spied upon by a Little Boy, Yoshiwara, (c. 1770-80) Color woodcut

The ukiyo-e—translate to “pictures of the floating world” and are woodblock prints—exemplify an infamous Edo-period subversive art form due to their strong association to ukiyo, “floating world,” subject matter and premodern city life. Ippitsussai Bunchô’s (unsigned, due to the erotic subject matter, but attributed to Bunchô) colored woodcut entitled Lovers Spied upon by a Little Boy, circa 1770-80 portrays a highly-contrived, erotic scene delineating an intimate encounter between a girl … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 1 of 3)

The formation of authentic identity has prevailed as a common goal in Japanese art since the Edo period; yet more specifically, the tension between an unfolding dichotomy of social axioms and dissident ideologies has rendered a subjacent art lineage, incongruent with politically-influenced commissions. Both periods’ subcultures offer a severe artistic approach countering enforced conformity, but each responds to a different political circumstance and technological advancement. In both periods, the usages … Continue reading »

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