Street Art

Subterms

    Latest story

    138 Shares50 Views

    Sacha Jenkins, Filmmaker Who Mined the Black Experience, Dies at 53

    by

    Shaped by early hip-hop culture, his documentaries put race in the foreground, whether the topic was hip-hop fashion, the Capitol riots or Louis Armstrong.Sacha Jenkins, a fiery journalist and documentary filmmaker who strove to tell the story of Black American culture from within, whether in incisive prose explorations of rap and graffiti art or in screen meditations on Louis Armstrong, the Wu-Tang Clan or Rick James, died on May 23 at his home in the Inwood section of Manhattan. He was 53.The death was confirmed by his wife, the journalist and filmmaker Raquel Cepeda-Jenkins, who said the cause was complications of multiple system atrophy, a neurodegenerative disorder.Whatever the medium — zines, documentaries, satirical television shows — Mr. Jenkins was unflinching on the topic of race as he sought to reflect the depths and nuances of the Black experience as only Black Americans understood it.He was “an embodiment of ‘for us, by us,’” the journalist Stereo Williams wrote in a recent appreciation on Okayplayer, a music and culture site. “He was one of hip-hop’s greatest journalistic voices because he didn’t just write about the art: He lived it.”And he lived it from early on. Mr. Jenkins, raised primarily in the Astoria section of Queens, was a graffiti artist as a youth, and sought to bring an insider’s perspective to the culture surrounding it with his zine Graphic Scenes X-Plicit Language, which he started at 16. He later co-founded Beat-Down newspaper, which covered hip-hop; and the feisty and irreverent magazine Ego Trip, which billed itself as “the arrogant voice of musical truth.”Nas on the cover of the first issue of Ego Trip magazine, which billed itself as “the arrogant voice of musical truth.”Ego TripWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 88 Shares60 Views

      in Street Art

      New Collection by Yellowpop x André Saraiva

      by

      Yellowpop, a home decor brand specializing in LED neon signs and known for its exclusive artist collaborations, reunites with André Saraiva to launch a collection of five bright new pieces featuring never-before-seen formats such as a Lightbox and a Mirror sculpture.André Saraiva is an artist known for his graffiti work, which helped shape the visual language of street art in the 1990s.His style merges illustration and identity, centered around his iconic character Mr. A—a smiling, top-hatted figure that appears on walls and in cities around the world. In collaboration with Yellowpop, he brings Mr. A into a new dimension, translating his signature symbols into glowing neon works.Pink appears in each piece—one of the artist’s favorite colors. André finds it “very friendly” and explains:“It will always match, and it will even be a good matchmaker between two colors that are a bit opposite when they are next to each other. So the pink makes everything harmonious.”Yellowpop took a creative leap by going beyond their usual neon signs, bringing to life André’s concept of the mirror. The artist shared:“I like to think about something that you can hold, and these are elements that you can find in some of my sculptures that you have here—where you have doors—and so it’s all like the structure slash mirror slash circus slash neon slash nightclub.”The André x Yellowpop collection will be available in very limited quantities, with 24-hour early access on June 4 for those who sign up.Produced in limited quantities, this is a unique opportunity for fans and collectors to own one of these exclusive pieces. Visit www.yellowpop.com and follow Yellowpop on Instagram for early access, updates, and to shop the collection before it sells out.About YellowpopYellowpop is a home decor brand on a mission to change the way we decorate our spaces.By partnering with globally recognized artists, Yellowpop transforms iconic artworks into vibrant neon designs that inspire creativity and joy. Our LED neon signs are designed to inspire boldness and brighten spaces, creating a unique way to bring art into everyday life.With collaborations that span the art and design world, Yellowpop is making homes—and the world—a brighter place. More

    • 150 Shares62 Views

      in Street Art

      Banksy’s New Piece in Marseille Becomes a Tribute to Memory and Loss

      by

      On a quiet wall in Marseille, Banksy has once again transformed urban space into a mirror of human emotion. This time, the message hits closer to the heart. On Rue Félix Frégier, a freshly stenciled black lighthouse now rises from a beige wall, accompanied by the words:“I want to be what you saw in me.”It’s unclear whether the piece is a universal reflection or a deeply personal statement, but for those of us who’ve followed Banksy’s work for decades, this one carries the unmistakable weight of loss. Word has spread that this piece is linked to the memory of an old friend of the artist, someone who passed away recently. If true, it adds another layer of meaning to an already haunting intervention.At first glance, the lighthouse stands alone, quiet and symbolic. But step back and the composition reveals its brilliance. It’s a trick of shadow. The bollard in front of the wall casts a real shadow and Banksy has extended it into illusion. The lighthouse is not a structure, but a shadow, rising from something mundane. It’s not there, and yet it is. Just like the memory of someone who once saw the best in you.This makes the accompanying text all the more poignant.Not “I am what you saw in me,” but“I want to be.”It’s a promise. A regret. A longing.📍 Why Marseille?Marseille has always been a city of in-betweens. A place where ships dock, where people arrive and leave. A city steeped in movement and memory. There’s no more fitting location for a tribute like this where a bollard, a wall, and a shadow become a lighthouse not just in form, but in spirit.✅ Verified LocationThe work was revealed Thursday on Banksy’s official Instagram. Though its exact location was initially a mystery, it sits quietly on Rue Félix Frégier in Marseille. No barriers. No plaques. Just raw emotion, open to the street.As someone who’s seen thousands of interventions on walls around the world, I can say with certainty. This isn’t a mural for attention. It’s a piece of mourning. A whispered tribute. A lighthouse for someone who once saw the light in him and maybe in all of us. More

    • 125 Shares179 Views

      in Street Art

      In Miami, Wynwood Walls Museum Evolves Along With Street Art

      by

      Jessica Goldman Srebnick, the museum’s curator and the daughter of its creator, Tony Goldman, discussed her role and her vision for the neighborhood’s artistic future.This article is part of our Museums special section about how artists and institutions are adapting to changing times.The real estate developer Tony Goldman was no stranger to transforming neighborhoods when he established the outdoor street art museum Wynwood Walls in Miami in 2009. Located in Wynwood, formerly an industrial district of warehouses and garment manufacturing factories, the museum was his way of revitalizing a city pocket that had declined in the 1980s and had since sat virtually abandoned and forgotten.Goldman, who died in 2012, was known for breathing new life into Manhattan’s SoHo neighborhood by investing in real estate and turning it into a destination for artists and the fashionable set. He saw the same potential with Wynwood, according to his daughter, Jessica Goldman Srebnick, a co-chair of the real estate development company Goldman Properties and the museum’s curator.“My dad, Joey, and I were together when we first visited Wynwood in 2005,” she said, referring to her brother. “Block after block of single-story industrial buildings — mostly vacant or abandoned — served as canvases for a sea of chaotic graffiti, but my dad recognized the opportunity to build upon the DNA of the neighborhood and enhance it for others to enjoy.”Jessica Goldman Srebnick, the museum’s curator, earlier this month. She scouts for new muralists every year.Alfonso Duran for The New York TimesGoldman Srebnick said that her father saw the advantages of Wynwood’s central location, the walkability of its streets, the mass of underutilized buildings and its grittiness — all factors he used to breathe new life into SoHo, South Beach in Miami and Midtown Village in Philadelphia.“To him, it was clear that Wynwood would become the center for the creative class, with the Wynwood Walls Museum as its vibrant, beating heart,” she said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares149 Views

      in Street Art

      Wall to Wall Festival 2025 in Mordialloc, Australia

      by

      Wall to Wall Festival, Australia’s most beloved regional street art celebration, returns this April for a vibrant weekend of colour, creativity, and community. Curated and produced by the renowned Juddy Roller—the team behind landmark projects like the Silo Art Trail and Collingwood Housing Project—this year’s event will see Mordi Village in Mordialloctransformed into a spectacular open-air art gallery from Saturday 5 to Sunday 6 April.The 2025 program brings together ten of the world’s most exciting street artists, who will double the precinct’s existing mural count. These large-scale works will turn walls, laneways, and unexpected corners into captivating visual experiences, breathing fresh life into the bayside village. From abstract wonderlands to hyper-detailed realism, this year’s muralists promise a diverse and exciting showcase of global talent and local storytelling.Festival-goers can look forward to headline artist Drez, whose immersive “portal” artwork invites viewers into dreamy, otherworldly dimensions. Internationally acclaimed Smug will deliver jaw-dropping, hyper-realistic pieces, while Minna Leunig—a Victorian artist and daughter of the late Michael Leunig—will present poetic, thought-provoking works. LA-based muralist and illustrator Lauren YS, celebrated for their bold exploration of identity and queerness, will turn a vintage 1980s Porsche 911 into a moving psychedelic artwork.Joining the lineup are artists such as Bidju, a First Nations creative fusing traditional motifs with contemporary design, and Ellen Porteus, whose hyper-colour aesthetic blends illustration, animation, and mural art. Claudio Mantuano, a local Kingston favourite, adds a playful touch, while graffiti legend Sofles showcases his intricate and technically ambitious murals. Rounding out the list are Jason Parker, known for his vibrant, emotionally charged palette, and Jasmine Crisp, an emerging painter from Adelaide whose oil-based works explore identity, memory, and culture.More than just murals, Wall to Wall offers an immersive cultural experience. Visitors can enjoy guided art tours, interactive workshops, market stalls, face painting, and live music, along with a community “paint-by-numbers” wall perfect for families. Mordi’s local art space Le Studio will also feature works by 12 local artists, and festival partner St Felix will launch a custom gin bottle designed by Drez. Held on the final weekend of daylight savings and the start of the school holidays, Wall to Wall is the perfect way to celebrate the transformative power of street art by the bay.Check out below for more photos of the festival. More

    • 100 Shares159 Views

      in Street Art

      Martin Wong, Medici of the Aerosol Art Set

      by

      A patron saw the beauty in graffiti when most of the world thought it was mere nuisance. Now the writing (of Lee Quiñones, Rammellzee, Futura and others) is on the museum wall.Martin Wong got in with the graffiti writers in the early 1980s at Pearl Paint, the long-gone Canal Street art supply store, where he had a job in the canvas department. Wong would slip them markers or cans of spray paint or sell them supplies on deep, unsanctioned discounts, which endeared him to artists at crucial moments of their careers. The painter Lee Quiñones recalls Wong writing out $20 invoices for portrait-quality linens priced at $400.Wong soon began buying Quiñones’s work and that of like-minded painters like Daze, Sharp and A-One — artists who were moving away from bombing trains with graffiti and developing studio practices. In so doing, he nurtured their development and became a constructive patron: a Cosimo de’ Medici of the aerosol set. His collection is highlighted in “Above Ground,” a small but essential exhibition at the Museum of the City of New York.By 1994 Wong had amassed upward of 300 artworks and other media, all of which he donated to the museum that year. As interest in both the modern graffiti movement and its diasporic reverberations has grown, Wong’s conviction has proved consequential, his collection functioning as a repository. Pieces from it have been lent to major institutional surveys, like “Writing the Future: Basquiat and the Hip-Hop Generation” at the MFA Boston and “Art in the Streets” at the Museum of Contemporary Art in Los Angeles, shows that have deepened scholarship of this previously maligned and misunderstood period.Outsiders had been hot on graffiti at the same time as Wong was, but none had a more ardent or abiding interest. He recognized what was an irreducible form of American expressionism and its importance in the history of New York, even as much of the city was hostile toward it.Wong was 32 when he arrived in New York from San Francisco in 1978 and was drawn immediately to the baroque layers of tags spreading across the city’s surfaces. Wong’s own art, an urban realism that synthesized documentarian detail and romantic devotion (no artist lavished more attention on bricks), had little technical overlap but shared a sympathetic kinship. His paintings referred to the street, and so invariably referred to graffiti too. He reproduced the Lower East Side’s tagged handball courts and crumbling redbrick tenement buildings as oppressive but softened, bathed in a dingy cast that can feel like ecstatic reverie.From left, Wicked Gary, a graffiti writer; Peter Broda, the director of the Museum of American Graffiti; Martin Wong, the collector; and Lazar, a graffiti writer, at the opening of the Museum of American Graffiti in 1989. Behind them is a collection of 1970s writers’ tags.via Museum of the City of New YorkWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares179 Views

      in Street Art

      When Banksy Came to Red Hook and Made His Mark

      by

      A chunk of wall that bears the work of the graffiti artist will go on display in Manhattan this month.Good morning. It’s Tuesday. Today we’ll find out about what happened to a 7,500-pound chunk of a wall with a Banksy installation from 2013. We’ll also get details on a request from Mayor Eric Adams’s lawyer for a federal judge to hurry a decision on whether to drop corruption charges against the mayor.Guernsey’sA dark-colored van parked down the block from Vassilios Georgiadis’s nondescript warehouse in Red Hook, Brooklyn, one evening in 2013. Georgiadis, a roofing and asbestos abatement contractor, noticed it because he was standing outside, smoking.He told the man who got out of the van that it was not a good idea to leave it in that spot. Tractor-trailers turning the corner too fast could clip the car, Georgiadis said.The man said he would not be there long. He said something about how he just wanted to run to a convenience store nearby for cigarettes and coffee. Georgiadis told him to pull into an empty space in the driveway outside the warehouse. The man did and headed off. The van was still there when Georgiadis left a little while later.Georgiadis worked at home the next day, and then took some paperwork to his son Anastasios, who spent the day on a roofing job on Staten Island, ignoring calls from his mother.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares179 Views

      in Street Art

      Angelina Jolie Wants to Pick Up Where Warhol and Basquiat Left Off

      by

      It was a Saturday night, and behind the graffiti-scrawled facade of Atelier Jolie, her downtown creative space and gallery, Angelina Jolie was in conversation with the artist Shirin Neshat.The topics were heady: the plight of refugees, the rights of women, how to wrench meaning from exile; the value of art in all that. Jolie, ethereal in a cream dress with an embroidered capelet, was gracious. “I’m so happy to be with all of you,” she said to the invited 50 or so guests, adding that she sought community to “keep trying to understand ways to help.” For her, being an artist was a means of communication: “I want to know if you feel the same pain.”Jolie listened intently to Neshat, the Iranian visual artist and filmmaker, a striking figure with kohled eyes. “Art doesn’t come from intuition,” Neshat said. “It has to come from the life you have led. It has to relate to the world.”At the reception, notables like the musician Jon Batiste and the author Suleika Jaouad (his wife), and Jack Harlow, the chart-topping rapper, mingled amid the artwork. A Sufi dancer in a crimson gown twirled between the tagged-up walls.The artist Shirin Neshat, center, in conversation with Jolie and the moderator Claude Grunitzky. “Art doesn’t come from intuition,” Neshat said. “It has to come from the life you have led.”Argenis ApolinarioAnd Jolie, the Oscar-winning actress, humanitarian and object of global fascination, was not the red-hot center of attention. Which is just how she wants it. “I like to see what other people make,” she said. “That’s part of my creativity.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares119 Views

      in Street Art

      New Mural by SATR in Réunion Island, France

      by

      During the vibrant Réunion Graffiti Festival, artist SATR painted a breathtaking mural that celebrates nature’s raw beauty and energy. Inspired by the crashing waves and striking volcanoes of Réunion Island, this artwork captures the island’s pristine landscape and spirit. The dynamic, smoke-like contours of the mural create a mesmerizing sense of motion, as if the powerful horse itself is alive and leaping off the wall. SATR’s masterful use of spray paint, combined with the striking pops of red, makes this piece truly unforgettable.SATR shared how deeply moved she was by the natural splendor of the island and the warmth of the people she met: “The crashing waves and striking volcanoes took my breath away. I’ll always remember its pristine beauty and the amazing people I met here.”SATR, who lives and works in Guangzhou, has been a key figure in street art since 2013. Known for her innovative atomization spray technique, SATR creates animals with dynamic movement and ethereal, smoky edges. Her work blends the boldness of Western graffiti with the delicate elegance of Eastern-style ink and wash painting, balancing tradition and modernity. The strong Oriental influence in her art is further underscored by the use of ancient seal-engraved signatures, a respectful nod to her roots.Réunion Island’s stunning landscapes and SATR’s singular artistry have come together to produce a mural that speaks to both nature’s power and the beauty of human creativity.Stay tuned and follow us for more street art updates from around the globe! More