Tag Archives: mint and serf

TOKYONEWS illing in NYC

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, Pablo Power, Shadi Perez, Arlo Rosner, Beni Zooted and yours truly.

You won’t find this on your iPhone, android or on an iPad for that matter. Printed in black and white on 50lb newsprint in Edition of 2000, the paper is distributed for FREE across the city in our custom SGU newspaper boxes, as well as at finer establishments across Gotham: Whitmans, Reed Space, Robertas, Malik Williams, White Box Gallery, Bowery Poetry Club and Ace Hotel.

PRESS RELEASE WRITTEN BY MINT&SERF

What happens when PeterPanPosse Continue reading

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Mint and Serf Presses the Press with September 2011 SGU issue WTC

June 2011 issue of SGU: PPP!

Mint&Serf prepares to release the September 2011 issue of SGU, Special Graffiti Unit, a leaflet documenting New Yorkers’ memories of Tuesday, September 11th, 2001. While most newspapers or publications intend to honor those who have been lost and embrace that which remains, the SGU staff presumably aims to print reminiscences recalled by unlikely sources, those whom “legit” journalists may overlook. With great sincerity, Mint&Serf compile stories and images remembered and captured by city kids, who normally appear to disregard anything but the next party—yet they condole with the rest. The September issue of SGU manipulates the deceptive simplicity of storytelling, delineating tragic events with candid prose and original photography.

SGU’s polemical approach to guerilla printing and distribution has attracted attention in the past. In June 2011, Mint&Serf published the second issue of SGU, in which an anonymous NYC downtown crew, Peter Pan Posse (PPP), contributed essays and photographs exposing the underworld of the artworld.

An editorial note from Peter Pan sums up the motif of June’s issue:

Peter Pan Posse is more than a gang: it’s a mental attitude. We are born and bred New Yorkers who preserve the outlaw lifestyle – a lifestyle that chose us. We have mastered the art of surviving city streets. We are the artists you admire. We are the drug dealers with the least cut. We throw the parties where you make the worst mistakes.  We make the music you do drugs to. We are the kids you talk shit about. We don’t sneak into parties — we sneak outta them. We don’t pay for bottles we throw them. We get paid to play. We can’t grow up: its a full-time job not giving a fuck.

One-thousand regular editions and one-hundred limited editions accompanied with seven-inch vinyl records produced by PPP hit the streets, hard. Revitalizing punkzine ideology and adhering to DIY (do it yourself) ethic, June’s SGU upended traditional marketing after being stuffed into reappropriated magazine boxes located in front of MoMA and the New Museum. “Someone” had repainted the boxes with an Ad Reinhard black and scribbled white text reading, “SGU Mag,” “Written by Peter Pan,” “Edited by Tinker Bell,” “SpecialGraffitiUnit.com,” and “PPP!”

SGU PPP! June 2011, pages 18-19

Interestingly the coming issue may possibly utilize similar antics while approaching a sensitive subject, furthering the boundaries of artistic domain. Regardless of their seemingly-aleatory process, Mint&Serf have proved that one doesn’t have to grow up to compete with the grown ups.

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THE ANNUAL FREEARTSNYC BENEFIT @ THE CHELSEA ART MUSEUM

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From the “WU-mb”

"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.”

Installation Shot

Since Gallery 151’s exposé of graffiti’s magnum opus, other significant shows continued to pop up at the storefront Bowery location featuring urban visual artists, designers and musicians.

Currently, curators Derrick Bernard Harden, Oliver “Power” Grant and Laura O’Reilly (Harden and O’Reilly are also directors at the gallery) have handpicked artists for Gallery 151’s group exhibition “Grassroots: Through the WU-mb,” up until Monday, April 4th, 2011, on view Tuesday through Sunday from 2:00 until 8:00 pm. “Grassroots” showcases Hip Hop and Street Visual Art cultures inevitable merge due to the collaboration between The WU TANG Brand and Minimal Dose 500MG, who present for the first time WU500MG MTM ALIEN spray cans and the Black Spanish Shearling Jacket Box Set.

"The Wall" by Jackson Kelsey and co.

The gallery’s atmosphere is always kicking, as it appears that even after 8.00pm (not suggesting, you arrive late), the space is clouded by spray-paint fumes and a few stray artists and viewers.

"Breaking Down the Door"

Complete List of Artist: Antonio Kel 5MH, Mint & Serf, Kipton Hinsdale, Sir Shadow, Walker Fee, Charles Shedden, Louis Sarowasky, Tobias Batz, Eric Jordan, Minimal Dose 500MG (Lucas Benarroch & Jamie Barnatan), Mickal Macraig Stubblefield, HYPNO, Maria “TOOFLY” Castillo, Jackson Kelsey, Patrick Sheehy and Neon Sandwich

Remember to visit the show before it closes because a percentage of sales and donations are given to the Red Cross towards Japan tsunami relief.

All photographs courtesy of Gallery 151

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“Well Hung” Artists: Feature on Samantha West

Samantha West captures intimacy with her camera. The context of her photograph alludes to West’s intention and influences the viewer’s interpretation of the piece. In Underwater Part 1, West presents a face of a woman submerged underwater framed with, as well as hidden behind, frail and suspended strands of blonde hairs. The dichotomy of the two uses of hair intensifies an inherent tension found in the photograph. The subject acclimates to an unnatural environment, yet her lips pout and mouth remains slightly open implying that she remains either content or even aroused. The viewer catches West’s model the instant that she embraces water and notices how different it feels from land or gravity. Furthermore, West’s photograph reveals a repressed pleasure that is undeniable once photographed and well-hung on a gallery wall. West exposes human’s innate acceptance of weightlessness, in turn human’s enchantment by freedom.

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“Well Hung” Artists: Feature on Jordan Seiler

Jordan Seiler runs Public Ad Campaign, an organization that promotes the public’s interaction with public spaces. Public Ad Campaign aims at filling outdoor advertisement spaces with art to lessen the impact that privately owned companies or corporations have on people and their environment—making public property public again. Armed with acts of civil disobedience in accords with Henry David Thoreau’s theory, the organization intends to increase citizens’ interactions and generate a stronger “general will.” When Seiler isn’t advocating people’s rights, he spends time creating art. Odessa Giving Up the Gun depicts a faceless woman encompassed by waves of dark hair, rendered with bold, thick black lines and contours. Pages of used books color her skin while acting as the background of the work too. Interestingly, Seiler’s minimalistic formal style, concentration of graphic shapes, and reliance on flatten pictorial space mimic the advertisements to which he objects.

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“Well Hung” Artists: Feature on Andrew Poneros

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 the visibility a public surface provided and incorporated phrases and iconography to comment on social issues. Poneros literally contrived public installations disregarding the fact that they weren’t commissioned. Alas, this bad boy gained quite a reputation globally as well as in the art world. According to his biography, Poneros creates his “own mythology” with symbols. Hence, No Prey No Pay pays homage to his history including his heritage. Poneros prepares his box of symbolism with layers of tight graphic imagery on glass and wood.

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