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    “Monumental Moments – The Hug” by Jorge Rodriguez-Gerada in New York City

    The internationally renowned contemporary artist, Jorge Rodriguez-Gerada best known for his urban large-scale mural portraits and his colossal land-art pieces, has just presented his collaboration with the California based company Neurocrine Biosciences, Inc. an original piece of art called Monumental Moments – The Hug, a nearly 10-foot-tall and 500 pounds bronze sculpture that immortalizes the monumental times everyone has experienced during the pandemic and celebrates the human spirit, the resilience of the mental health community and all those who have been impacted by the pandemic.Inspired by the hundreds of stories shared on MonumentalMoments.com over the past year, Monumental Moments – The Hug was unveiled on Thursday, October 7, to coincide with Mental Illness Awareness Week (October 3-9) and ahead of World Mental Health Day (October 10) at New York City’s iconic Lincoln Center.Performing during the reveal was the internationally renowned, Boston-based Me2/Orchestra, the world’s only known classical music organization created specifically for individuals living with mental illness and the people who support them. The orchestra created an original musical score to kick off the Monumental Moments initiative in October 2020.The Monumental Moments community platform and charitable initiative was created to offer hope, support, inspiration and a way for the mental health community and all those facing challenges during the pandemic to connect and share how they’re prioritizing their mental health. The Monumental Moments community is now encouraging people to share any lessons learned since the start of the pandemic, what they are grateful for and how they continue to care for their mental health. 47% of the adult population in the USA affirms to suffer negative impacts on their mental health after the pandemic yet (source KFF).“I am honored to work with Neurocrine Biosciences to join the Monumental Moments initiative and create something that means so much to me. The sculpture is dedicated to those who have been struggling with their mental health because of the pandemic and represents the importance of supporting each other during these unprecedented times,” Jorge Rodriguez-Gerada said. “Art can help bring people together, and I hope the sculpture will remind us all that we can overcome these difficult times as a community.”To usher in this time of reflection, Rodriguez-Gerada’s sculpture of a hug, developed in collaboration with international art and design foundry UAP, represents the importance of connection and supporting each other and how much many of us missed hugging loved ones during these trying times.Research demonstrates that hugging can help minimize negative emotions and support a more positive state of being. 1 The sculpture depicts two adults and a child in an embrace through a complex bronze work thought in order to create the feeling of transparency and the illusion of movement, depending on your point of view. The green ribbon woven throughout represents the importance of continued mental health awareness and support, while highlighting the significance of this year’s Mental Illness Awareness Week and World Mental Health Day.“The Hug“, by Jorge Rodríguez-Gerada is also a technical tour de force: the foundry of bronze was realized using a very innovative technique called ‘the lost wax’ combined with advanced 3D printing, mixing traditional and avant garde ways of working. The primary model is built on wax directly, being an exact replica of the future finished piece which allows injecting the liquid bronze metal without filling any mold.“Last year in support of the launch of Monumental Moments, we debuted an original score to bring to life the emotional impact this time has had on many,” said Caroline Whiddon, Executive Director and cofounder of Me2/Orchestra. “This year, we are pleased to perform again and stand alongside Jorge and this magnificent sculpture to celebrate the resilience of the Monumental Moments community that has grown over time.”Jorge Rodriguez-Gerada, a Cuban American contemporary artist, is recognized worldwide for his unique “urban” large-scale mural portraits that can be seen from space. By utilizing walls and floors as canvases and citizens as models, he became one of the most well-known urban artists who displays his work on walls of different cities around the world.Rodriguez-Gerada began his career in the early 90s as a founding member of New York’s Culture Jamming Movement. Since then, he has mastered his artistic directions as a muralist, sculptor and land artist. Rodriguez-Gerada has created a series of important large-scale murals, including his work in Queens, New York, memorializing the late Dr. Decoo, a Latino pediatrician who lost his life after battling the pandemic in New York City, and the Hispanic and African American communities who are disproportionately affected by COVID-19.Scroll down below for more photos of “Monumental Moments – The Hug”Photo credits:  Noam Galai, Getty Images for Spectrum Science More

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    in Exhibitions

    In Town for Paris Art Week? Here Are 7 Must-See Museum Shows From Martin Margiela, Marlene Dumas, and Other Artists

    The Frieze tent in London’s Regent’s Park has barely been disassembled and yet eyes have already shifted to Paris. This week, the French capital will welcome FIAC back to the Grand Palais Éphémère for the fair’s 47th edition, this year boasting 170 exhibitors. Elsewhere, the quirkier Paris Internationale will again set up shop in an intimate, residential building at 168 Avenue Victor Hugo, from where the smaller fair will continue its mission to champion emerging galleries.
    Also participating in Paris Art Week are the city’s art institutions, a number of which are mounting a slew of high-caliber exhibitions, the quality of which is so laudable—so “must-see”—that you might even be up prompted to consider cutting fair time in favor of an old-fashioned museum excursion.
    Here are seven you won’t want to miss.
    “Ouverture” at Pinault Collection
    Lynette Yiadom-Boakye, Vigil for a Horseman (2017). ©Lynette Yiadom-Boakye. Exhibition view, “Ouverture”, Bourse de Commerce—Pinault Collection, 2021. Courtesy the artist and Pinault Collection. Photo by Aurélien Mole.
    Still fresh from its May unveiling, the new Bourse de Commerce–Collection Pinault continues to bask in that undeniable sparkle of the new. Collector François Pinault’s long-awaited Parisian venture now proudly stands in the Les Halles district, occupying a historic building revitalized under the guidance of visionary architect Tadao Ando.
    Celebrating the museum’s inauguration is “Ouverture,” an ambitious group presentation of 200 works by 32 artists, installed across all 10 exhibition spaces. Works by David Hammons, Cindy Sherman, Maurizio Cattelan, Sherrie Levine, Lynette Yiadom-Boakye, Antonio Obá, Urs Fischer, and Kerry James Marshall appear in a sprawling display where each artist on view is a heavyweight in their own right.
    Pinault Collection, 2 rue de Viarmes, 75001 Paris; through December 31, 2021.
    “Anne Imhof: Natures Mortes”at Palais de Tokyo
    Anne Imhof, ROOM VI (2021). Courtesy of the artist, Galerie Buchholz and Sprüth Magers. Photo: Andrea Rossetti.
    Demand for tickets to “experience” the German artist’s newest project has gotten so intense that Palais de Tokyo implemented nightly extended hours through the show’s close. (At the time of writing, only eight “exceptional” days remain.) In signature Imhof fashion, “Natures Mortes” is touted more as a spectacle than an exhibition, taking over the Parisian center’s entire space with “an all-embracing, polyphonic work” of music, painting, drawing, and, of course, performance.
    The Golden Lion winner also invited a cast of 30 artist “accomplices” to participate in a mysterious team venture that involves fellow artists Oscar Murillo, Precious Okoyomon, Jutta Koether, and Wolfgang Tillmans.
    Palais de Tokyo, 13 Avenue du Président Wilson, 75116 Paris; through October 24, 2021.
    “Marlene Dumas: Le Spleen de Paris and Conversations”at Musée d’Orsay
    Marlene Dumas, Hafid Bouazza (2020). Courtesy Marlene Dumas. Photo: © Peter Cox, Eindhoven.
    In an ode to Baudelaire and his enduring influence, esteemed contemporary painter Marlene Dumas produced 15 new works born from a collaboration with the late author and translator Hafid Bouazza, and timed to the bicentenary of Baudelaire’s birth, in 1821. Poetry and literature are well-known factors that shape Dumas’s work, and this new series was inspired by the legendary French poet’s collection Le Spleen de Paris. Portraits of figures such as Baudelaire and artist Jean Duval are displayed alongside still lifes that respond to a poem, or contain image motifs, such as a rat or a bottle, referenced within the poetry collection.
    Musée d’Orsay, Esplanade Valéry Giscard d’Estaing, 75007 Paris; through January 30, 2022.
    ‘Bonaventure (Trafficking worlds)’at Fondation d’Entreprise Pernod Ricard
    “Bonaventure (Trafiquer les mondes).” Installation view, from left to right: Minia Biabiany, Meris Angioletti, Gina Folly. Photo: Thomas Lannes, 2021.
    Curated by Lilou Vidal, this group exhibition—also known as the 22nd Pernod Ricard Foundation Prize show—brings together (you guessed it) the nominees currently up for the award, which since 1999 has been recognizing artists under 40. Themes of storytelling and the occult dominate this year’s iteration (its title, bonaventure, refers to the uncertainty and risk involved in fortune telling), with rising stars such as Tarek Lakhrissi and Gina Folly included in the lineup of nine participants.
    Fondation d’entreprise Pernod Ricard, 1 cours Paul Ricard, 75008 Paris; through October 30, 2021.
    Martin Margielaat Lafayette Anticipations
    © Martin Margiela.
    Even though the trend of “fashion as art” has already peaked—and at this point is veering dangerously close to cliche—Lafayette Anticipations combats such associations head on by noting in the press text that Martin Margiela, founder of French fashion house Maison Margiela, “has always been an artist.”
    Margiela is categorized here as an iconoclast, whose work across various media influenced his unbiased approach to material, providing him an attitude that regards a Caravaggio painting or a box of hair dye with equal significance. The show, organized by distinguished curator Rebecca Lamarche-Vadel, is framed as a single artwork in itself, encompassing installations, sculptures, collages, paintings, and films, all being shown publicly for the first time in a “labyrinthine” setting.
    Lafayette Anticipations, 9 rue du Plâtre, F-75004 Paris, October 20, 2021 – January 2, 2022.

    “Bianca Bondi: The Daydream”at Fondation Louis Vuitton
    Bianca Bondi, detail of The Daydream (2021). Fondation Louis Vuitton, Paris. © Adagp, Paris, 2021, © Fondation Louis Vuitton / Marc Domage.
    For her first one-person museum outing in France, Bianca Bondi has erected an indoor garden which drew original influence from Mexican cenotes, a form of region-specific topography that is heavily steeped in myth. The artist’s multisensory installation is situated around a central well outfitted with synthetic lungs, or alveoli. The well serves as the site’s primary energy source, by which its lungs regularly emit a colored, fragrant saline solution that “nourishes” the vegetation, flowers, and creepy-crawlers dwelling on branches in this half-fake, half-natural ecosystem. Bondi, who was born in South Africa and now lives in Paris, is an artist to watch: She also has a concurrent solo show at Fondation Carmignac in Porquerolles, France, and is slated to participate in the 2022 Gwangju Biennale.
    Fondation Louis Vuitton, 8 Avenue du Mahatma Gandhi Bois de Boulogne, 75116 Paris; through January 24, 2022.
    Jean Claracqat Musée Eugène Delacroix
    Jean Claracq, Working Class Hero (2021). Courtesy the artist and Galerie Sultana. Photo: Romain Darnaud.
    As part of FIAC’s programming, the emerging painter Jean Claracq has debuted seven new paintings at Musée Delacroix. Created in direct response to two Delacroix works from the Old Master’s namesake permanent collection, Claracq’s compositions examine the tension inherent in contrasting perceptions. Produced in the artist’s typical small-scale format, these new paintings encourage a dialogue with those of Eugène Delacroix. Despite centuries of separation, Claracq possesses distinct similarities to the most influential artist of the French Romantic school, particularly in their shared attempts to capture an individual’s internal distress, especially as it may be influenced by a sense of helplessness in a chaotic world.
    Musée Eugène Delacroix, 6 Rue de Furstemberg, 75006 Paris; through November 1, 2021.
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    Machu Picchu Is Sending Inca Empire Treasures on Tour for a Rare Series of International Exhibitions and Virtual-Reality Experiences

    The Boca Raton Museum of Art is hoping to bring the magic of Machu Picchu to Florida this fall with an unprecedented showcase of golden treasures paired with a virtual reality experience that will transport visitors to the famed Inca city in the clouds.
    “Many of these objects, in fact most of them, have never left Peru,” museum director Irvin Lippman told Artnet News. “It’s kind of extraordinary.”
    The 192 artifacts, many of which come from Andean royal tombs, are on loan from the Museo Larco in Lima, Peru. Boca Raton is the first stop in an international tour organized by World Heritage Exhibitions, which has previously staged shows on such topics as King Tut, Pompeii, and the the Titanic. A portion of the proceeds will go to Inkaterra Asociación, a nonprofit dedicated to conservation and biodiversity of the Amazon, and the Ministry of Culture of Peru.
    Many of the objects on view don’t come from Machu Picchu itself, which was a kind of Incan resort, but from other parts of Peru. Though it is the best-known remnant of the Inca Empire today, Machu Picchu was only inhabited for roughly 100 years before the mountainous retreat was abandoned in 1572. But the empire had united a number of Andean civilizations already had established rich cultures for thousands of years prior.
    Ear ornament of gold, shell, and stone (turquoise or malachite), depicting eight iguanas. Four of the iguanas are gold and four are turquoise (1 AD-800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    “We have in this exhibition some 3,000 years of a variety of cultures that were in Peru, and of course it culminates with the Inca Empire,” Lippman said. “Once people see the objects, they will have a better idea of the people who built Machu Picchu. People will come away with a renewed appreciation for these strong cultures that dominated South America.”
    A selection of funerary objects provide a window into Andean cosmology, and a way of understanding a society that had no written language.
    Frontal adornment of 18-karat gold headdress depicting a feline head with half-moon headdress and two birds (ca. 1 AD–800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    “One of the major themes you’ll see in these objects is duality. There are wonderful metal vessels that are half gold and half silver, silver being the moon and gold being the sun. It reinforces the concept of duality, rain and drought, man and woman, the overworld and the underworld,” he said.
    The show fills both floors of the Boca Raton Museum, culminating in a virtual-reality journey to Machu Picchu. The sweeping footage was filmed by drone during the pandemic, when in-person visits to the historic site were suspended—allowing the filmmakers to capture the popular tourist destination free of crowds.
    “The climb will be so much easier,” Lippman said, “here at sea level in Boca Raton.”
    See more objects from the exhibition below.
    Ai Apaec, copper funerary mask with applications of shell and stone, depicting an anthropomorphic visage with feline fangs (ca. 1 AD –800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Ai Apaec, copper funerary mask with applications of shell and stone, depicting an anthropomorphic visage with feline fangs (ca. 1 AD –800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Gold and turquoise nose ornament depicting figure with half-moon and club-head headdress, circular ear ornaments and loincloth, holding a rattle (ca. 1 AD–800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Ai Apaec, copper funerary mask with applications of shell and stone, depicting an anthropomorphic visage with feline fangs (ca. 1 AD –800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Frontal adornment of 18-karat gold headdress depicting a feline head with half-moon headdress and two birds (ca. 1 AD–800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Frontal adornment of gold headdress depicting feline head with feathers, bird-beak nose, and figure with headdress of plumes and triangular pendants, depiction of two animals (monkeys) on the upper part, stepped designs with volutes and two-headed- serpent designs on the lower part (ca. 1300 AD-1532 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Huaca de la Luna adobe bricks with colorful bas relief of creator god Ai Apaec of the Moche or Mochica culture. Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Gold-silver-copper alloy ear ornament with depiction of ten human heads with half-moon headdress, circular earornaments, and breastplate. Necklace of spherical beads made of a gold-silver-copper alloy. (ca. 1300 AD–1532 AD) Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Set of forty-two circular metal discs of gilded silver, shown in hypothetical use on a shirt (ca. 1250 BC–1 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    Sculptural stirrup spout bottle depicting ananthropomorphic figure with supernatural traits (hero Ai Apaec) holding aknife or tumi (1 AD–800 AD). Collection of the Museo Larco, Lima, Peru. Photo courtesy of World Heritage Exhibitions.
    “Machu Picchu and the Golden Empires of Peru” is on view at the Boca Raton Museum of Art, 501 Plaza Real, Boca Raton, Florida, October 16, 2021–March 6, 2022. 
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    Check Out Artnet Gallery Network’s Virtual Exhibition at 50 United Nations Plaza’s Stunning Duplex Penthouse

    Located at New York’s iconic United Nations Plaza, the 50 United Nations Plaza (“50UNP”) duplex penthouse balances grandeur with gallery-like precision, making it a jaw-dropping setting for world-class artworks. In this one-of-a-kind space, stunning floor-to-ceiling bay windows showcase the sprawling metropolis outside, while the refined interior—designed by famed architects Foster + Partners—offers a serene, even meditative response. 
    Now, the Artnet Gallery Network has curated a virtual exhibition that takes inspiration from the residence’s unique features. One finds the harmony of natural elements in features like the glass-enclosed fireplace, distinctive oak details, and the 33-foot infinity-edge pool. The artworks selected by the Artnet Gallery Network are meant to emphasize the architectural details of this 9,700 square foot space. The duplex’s soaring ceilings, which rise up to 13-feet are particularly suited to large-scale sculptures—a rare asset for any collector. 
    Emerging artist Patrick Hurst’s stainless steel sculpture The Mind of Others presents an evocative, seemingly gravity-defining silhouette at the center of the spacious living room which spans the entire 73-foot east face of the building, with unobstructed views of the river and beyond. In addition to its grand living and dining areas, the lower floor includes a state-of-the-art kitchen with generous counter and storage space, as well as two guest bedrooms and a private terrace facing the Manhattan skyline. A curved oak and stainless steel staircase leads upstairs to the half-floor master suite, ipe wood deck and pool, and separate guest bedroom and entertainment room with an adjoining kitchen. 
    Dale Enochs, Postindustrial Mandala. Courtesy of Long-Sharp Gallery.
    An introspective centerpiece in the expansive entertainment room, Dale Enochs’s Postindustrial Mandala casts a captivating circle of light that in cooler months will echo the room’s electric fireplace and overlook the private outdoor pool year-round. 
    Ferruccio Gard, Untitled. Courtesy of Cris Contini Contemporary.Ferruccio Gard, Effetto Colore in Op Art. Courtesy of Cris Contini Contemporary.
    Two of Ferruccio Gard’s uplighting op-art creations add pops of color and geometry to the room. Across from the entertainment room is the master lounge, part of the half-floor master suite, which allows for more secluded relaxation and access to the pool.  
    Kim Jaeil, Vestige. Courtesy of Sundaram Tagore Gallery.
    Jeffrey Robb, FL-KM12941336. Courtesy of Cris Contini Contemporary.
    In a spacious second-floor guest bedroom, Kim Jaeil’s Vestige (Space Silver) offers a fascinatingly textured work that captures the eye almost as much as the views of the Empire State and Chrysler buildings. Jeremy Robb’s Rorschach Flower, too, offers a reflective space to pause and contemplate in the master bedroom suite.
    Anila Quayyumb, Hidden Diamond – Saffron. Courtesy of Sundaram Tagore Gallery.
    Meanwhile, in the intimate space of the guest bedroom with northwest views, Pakistani artist Anila Quayyum Agha’s hanging sculpture Hidden Diamond fills the interior with dynamic shadows and lights that mimic the effect of sunset between the city buildings.
    Nic Fiddian-Green, Still Water. Courtesy of Sladmore Gallery, London.
    Moving out onto the second terrace, a moment of pause is offered in Nic Fiddian-Green’s towering Still Water (2016) a monumental equestrian bust that defies the buzzing motion of the city beyond with its powerful sense of serenity.
    These artworks draw out the careful details of the 50UNP duplex penthouse, which are rare in new construction. The thought given to the space is in many ways tied to the residence’s history; 50UNP has been spearheaded by third-generation developers William Lie Zeckendorf and Arthur Zeckendorf. The Zeckendorfs’ grandfather, William Zeckendorf Sr., first purchased 17 acres of land along New York’s East Rivers in 1946 and offered the space home for the United Nations in a deal supported by the Rockefeller family. Sixty years later, his grandsons purchased the property directly across from the United Nations, which they have developed in homage to their grandfather (and to note, their maternal grandfather, Trygve Lie was the first Secretary-General of the United Nations). This spectacular duplex penthouse is a tribute to their family legacy and a place where artwork thrives.
    This one of a kind indoor/outdoor space is available for immediate occupancy and provides a perfect balance for today’s work at home lifestyle.  For more information about this stunning property, please visit 50UNP.com and contact the Sales Office to schedule a private tour.

    [email protected]
    212.906.0550G-Z/10 UNP Realty, LLCSee additional images of the breathtaking duplex below. 
    The floor-to-ceiling windows create the sensation of being within the sky itself.
    Four master-sized bedrooms allow ample space for luxurious living and home offices with uninterrupted skyline views.
    The majestic, 33-foot infinity pool with unparalleled outdoor space.
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    “The Calm” by David de la Mano in Valencia, Spain

    Spanish street artist David de la Mano just finished working on his latest mural in Torrent, Valencia. His work entitled “The Calm” depicts a great whale with a silhouette of people riding on its back in David de la Mano’s signature monochromatic imagery. The mural was painted in collaboration with artist Pablo S. Herrero.“The great whale carries a human group on it. Its passengers don’t know where they are going. Some of them trust the wisdom of an ancient being who knows the territory, others travel with the suspicion that the whale doesn’t know what her path is either. Some of them believe that the environment in which they are in can be deciphered, perhaps by others. They intuit that there were those who interpreted it before. One part of the group only distinguishes a bitter feeling of loss. They all carry something important in their hands. Everyone keep calm.”David de la Mano is known for his large dystopian murals featuring human and animal silhouettes and minimalist style. He creates distinctive artworks which are symbolic reflections on humankind and reminiscent of dark fairytales. The single anthropomorphic figures of the artist gather together and unite in an eternal and recurring movement; the individuals become the mass and vice versa, and they are driven by their dreams, ambitions, fears, vices, hopes, and internal conflicts.Take a look below for more photos of “The Calm” and stay tuned with us for more updates on David de la Mano and the international street art scene. More

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    in Street Art

    Clown Skateboards – Final Manifesto Drop!

    Clown skateboards have just dropped the final release of decks in their ‘Manifesto’ series. In their words, via an Instagram announcement, they put out the following statement:‘We love our manifesto and what it meant to us. However, this drop of manifestos will be the end of the “here to finish what we started” run… We decided upfront that this will be the final run of manifesto’s as we have been back for a minute now and have new goals we want to fulfil.’This marks the close of another chapter in the Clown story, but for anyone following along so far, you know that it’s far from over. One of the key goals for Clown when they decided on their return, around 15 years after they shut down their doors back in the early noughties, was that they were aiming for a carbon neutral operation. They aren’t quite up to speed yet, but this is the main focus of the next act, as they explain below:‘It was obvious we weren’t going to be a fast fashion, why the fuck would you want to! Waste of ink, cloth and packaging brands that don’t understand all the various steps of the value chain and more importantly the side effects of production is a place we do not want to be in. So, we picked makers that had a lower impact, we deliberately picked printing methods that used lower discharge and packaging that was compostable at least. To date on all our apparel we can honestly say that:78% (“So not 100% perfect, but 100% on the way there”) of it is made using renewable energy100% is made using organic or recycled fibers100% comes from places that do look after the people that make it and pay them properly (that shit matters).All our clothing packing is FSC, locally manufactured, recyclable or compostable and none of it has the characteristics of a plastic bag as when that shit hits the ocean and yes 10% of all bags do – who knows why. It does break down after 2 years but in the process, it chokes marine life, we have all seen the photos…We don’t just leave it there as we also carry this over in our boards with all wood coming from forest conservations areas that maintain biodiversity in nature, all waste 100% recycled and glues that are not going to make those pressing our boards to be ill in a few years and then dump all that into our waterways. We don’t shrink wrap and all the bags we do use are made from recyclable material and can be recycled again.Obviously, these things have a cost attached to them but better than costing the earth, right? But that cost is on us, your agreement when buying Clown stuff is to wear the fuck out of it then up-cycle it or hand it on. If you buy to waste, please don’t buy from us.Two new tee drops include a triple pack of tees, and the ‘Mr Ed’ tee joins the Clown OG design, which returns for a ‘Flashlite’ special. Based around the idea of the funk band Parliament, who used to shine flashlites (aka torches, if you’re British) into the crown to shine a light on people who had found the funk. Flipping the idea into the 21st century, Clown are shining the light back on the people who support them – without you, they say, ‘we’re in the dark’.Both tee drops are part of the Clown “one of 120 products”, which means they will make 120 of these bad boys, with 20 going out to clown team members and the rest up for grabs. Fully vegan, organic, and made by people that don’t work in a sweatshop and get paid properly. Happy days.www.instagram.com/clown_skateboardswww.clownskateboards.com/shop More

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    in Street Art

    Yellowpop x Keith Haring Neon Art

    In honor of the cultural iconoclast Keith Haring, Yellowpop has partnered with the late artist’s Foundation to create a collection of signs that pull inspiration from Haring’s powerful imagery and highlight his devotion to creating art that’s meant for all, not just the select few. The announcement of this collaboration also coincides with the opening of the Global home design brand’s first US-based pop-up retail experience located in Keith’s old stomping grounds of SoHo in New York City.The artistic collaboration brings forth eight exclusive LED neon signs bearing symbology that’s reminiscent of Haring’s signature graffiti and drawings from the 80s and 90s that still ring true today. With pieces like the barking dog sign, radiant baby, and “LOVE” sign with Haring’s signature heart, the collection is inspired by a shared spirit of creativity and designed to spark inspiration at every turn.“Collaborating with the Keith Haring Foundation to create this collection has been a dream come true for all of us here at Yellowpop,” said Jeremy Cortial and Ruben Grigri, co-founders of Yellowpop. “Keith’s testament to creating art that’s accessible to all aligns exactly with our brand mission to bring inspiration and creativity into the world.”“It’s no secret that Keith had an affinity for different mediums that helped his art resonate with a broader group of people,” Gil Vazquez, Acting Director of the Keith Haring Studio said. “We think he would have put his full support behind a collaboration like this one with Yellowpop.”The Yellowpop x Keith Haring collection of LED neon signs are available for purchase on October 14 online at yellowpop.com and in New York City and Yellowpop’s first US retail activation, located at 33 Spring Street, New York, NY. Open from October 14 through the holiday season, the store will offer a glimpse into the Yellowpop universe with the newest brand collaborations as well as a neon sign customization lounge to create your own sign from scratch.Prices for the Keith Haring x Yellowpop collection start at $290.To view more info: Check out @Yellowpop | #YPxKeithHaring @KeithHaringFoundation @artestarnycThis partnership was created in collaboration with Artestar, a global licensing agency and creative consultancy representing high-profile artists, photographers, designers, and creatives.Yellowpop is a home decor brand that’s on a mission to change the way we decorate our homes. Instead of simply filling it with commodities, we want to inspire our community to think more about design and the role our products play in their lives. It’s your home. The objects inside of it should be a reflection of you. Our LED neon signs are designed to inspire boldness and bring joy. They speak to each person differently, and we love them because of the way they make us feel. At Yellowpop, our values are simple: Be bold, be bright, have fun. We believe everyone should have the chance to brighten their day with a neon sign. And we’re sharing the joy, one neon sign at a time. Together, with the global art and design community, we’re using the power of art to make the world a brighter place.Take a look below for more photos of the collaboration. More

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    in Street Art

    “What is Home?” by Asbestos in Cork, Ireland

    This new mural by Asbestos in Cork, Ireland is part of the Ardu Street Art festival featuring Friz, Asbestos, Conor Harrington, and Shane O’Malley.The giant gable end mural by Asbestos challenges the passerby to think about ‘What is Home?’  Do you have one, is it safe, can you afford it? Never as a country has our sense of what home means been more at threat.“I painted this figure wearing a cardboard box on his head to start a conversation with the public about what home means to them. As a country we are currently in an existential crisis over housing and our need to put a roof over our heads. There’s a fear and uncertainly about finding a safe space, and the system seems to be stacked in favour of the landlords” said Asbestos.The figure wearing the box is the artist himself, but a fictional version of him who is looking at the world with a naive view point. So each of his masks, or personas is a character that’s asking a different question. In this case “What is Home?”Home isn’t simply about where you were born, it’s where you feel you belong, where you feel safe, where you’re welcomed, where you can come back to and feel accepted, loved and part of a community. We seem to have lost sight of this recently because we’re so concerned about rent, mortgages or even having a home.Painted over 8 days in the sunshine and rain, it was wonderful to speak to so many curious Corkonians about the mural. The support has been amazing from the public and my friends and family here, Cork definitely felt like my home for a week.Asbestos is an Irish artist who’s been creating work on the street in a variety of media since 2003.  His portraits explore the concept of identity that are a conversation with two versions of his persona. “Each mask portrays two versions of myself, one alive and one dead. The dead version is a fictional character that represents me, if I’d been killed in a car bomb”. The bomb he refers to was a real one that went off in Dublin 46 days before he was born, 5 minutes after his mother walked past it. “I’ve always been fascinated about the fact that I may never have existed.” So each portrait is created by two versions of his persona combining photorealism and abstract naive strokes.Scroll down below to view more photos of the mural. More