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    Wall to Wall Festival 2025 in Mordialloc, Australia

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    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

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      Martin Wong, Medici of the Aerosol Art Set

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      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

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      When Banksy Came to Red Hook and Made His Mark

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      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

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

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      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

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      New Mural by SATR in Réunion Island, France

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      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

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      Coverage: “Life in the Fast Lane” Tyrrell Winston Solo Exhibition at Volery Gallery, Dubai, UAE

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      Known for his ability to reimagine discarded objects, Winston brings his unique aesthetic to Volery with works that explore the emotional and physical toll of greatness. His punishment paintings reflect the endless repetition and unseen effort required to achieve success, emphasizing the sacrifice inherent in both athletic and artistic pursuits. These works are raw and deliberate, capturing the discipline and resilience needed to navigate high-pressure environments.Winston’s basketball installations—crafted from salvaged balls and nets—highlight the artist’s ongoing fascination with transformation and nostalgia. By repurposing materials that have long outlived their intended purpose, he elevates them into symbols of persistence and perseverance, challenging viewers to see beauty and meaning in the overlooked.This exhibition marks an important milestone for Volery Gallery as it continues to introduce bold and globally recognized artists to the region. For Winston, it represents an expansion of his artistic reach, engaging with a new audience while showcasing his ability to tap into universal themes.While Winston is best known for his thoughtful recontextualization of everyday items, Life in the Fast Lane reinforces his talent for combining cultural critique with deeply personal narratives. Through his work, he bridges the gap between contemporary art and popular culture, making his pieces both accessible and profound.Life in the Fast Lane has already generated buzz for its compelling storytelling and striking visuals. Visitors to Volery Gallery are invited to experience Winston’s thought-provoking works firsthand and immerse themselves in his exploration of endurance, repetition, and transformation.The exhibition will be on view until December 12, 2024.Take a look below for more photos of Life in the Fast Lane exhibition More

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      “Life in the Fast Lane” Solo Exhibition by Tyrrell Winston at Volery Gallery in Dubai, UAE

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      Street art meets sports culture in Tyrrell Winston’s highly anticipated solo exhibition, Life in the Fast Lane, set to open on November 16, 2024, at Volery Gallery in Dubai. Known for his distinctive style that transforms discarded objects—such as deflated basketballs and vintage sports memorabilia—into powerful artworks, Winston’s pieces invite viewers to reconsider the beauty in the overlooked and the narratives within everyday items.Life in the Fast Lane features ten new “punishment paintings” and two iconic basketball installations, showcasing Winston’s deep connection to the themes of resilience, identity, and legacy in sports. This exhibition explores the parallels between athletes and artists, highlighting the often unseen sacrifices and relentless determination that drive both to greatness.With a unique approach that combines fine art with street culture, Winston has captured the attention of major American institutions, including the Whitney Museum and MOCA. Now, he brings his celebrated work to the Middle East for the first time, creating a new dialogue within Dubai’s dynamic art scene.Adding to the exhibition’s excitement, Winston will be in attendance at the opening, alongside special guest Emeric Tchatchoua, creative director of the Paris-based fashion brand 3Paradis. This blend of art, sports, and high fashion promises to make Life in the Fast Lane an unforgettable experience.Exhibition Details:•Opening Date: November 16, 2024•Location: Volery Gallery, Maze Tower, Dubai International Financial Center•Exhibition Duration: November 16 – December 12, 2024Join us as we celebrate Tyrrell Winston’s unique vision, where the spirit of the streets meets the heart of the gallery. Don’t miss this opportunity to witness his work firsthand!Tyrrell Winston, Going Pro Is Not A Mirage, 2024. Used basketballs, liquid plastic, steel, epoxy, 111.8 x 137.2 x 22.9 cm More

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      “Tales” by Aleksi Ivanov in Bucharest, Romania

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      Bulgarian artist Aleksi Ivanov recently brought the streets of Bucharest to life with his mural Tales, as part of the BSBSA (Belgrade Sofia Bucharest Street Art) project. Known for his multidisciplinary approach and public art interventions, Ivanov’s week-long visit was filled with creative workshops, an artist talk, and the development of this expansive mural that explores shared folklore of the Balkan region.The mural, Tales, vividly represents the rich, interconnected folklore traditions of Romania, Bulgaria, and Serbia. Ivanov has skillfully woven together mythical characters and modern urban elements, including figures like Karakondzul, Rusalka, and the Giant, alongside symbolic references to vampires, dragons, and graffiti artists. He even pays tribute to the local street art scene by incorporating elements from Bucharest’s graffiti culture, like a subway adorned with tags by well-known artists Mser and Erps. These details give the mural a vibrant, multilayered appeal that invites viewers to find their own interpretations.During his residency in Bucharest, Ivanov shared his process and insights with the public. His street art workshop and artist talk allowed participants to engage directly with his experience in large-scale mural projects, public space transformations, and community-driven art. Ivanov’s dedication is clear, with each day of the project requiring up to 14 hours of meticulous work to bring the mural to completion.This initiative, made possible by the Creative Europe program, showcases the BSBSA project’s goal of fostering cultural connections and artistic expression across borders. Supported by local and international partners, Tales offers a dynamic cultural encounter, encouraging residents and visitors alike to explore the stories within the mural.Located at Mihai Bravu Boulevard in Bucharest, Tales stands as a testament to Aleksi Ivanov’s commitment to storytelling through art. To follow more about this project and others like it, visit bsbsa.org and connect on social media platforms. More

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      Book Review: ‘Rammellzee,’ edited by Maxwell Wolf and Jeff Mao

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      In the mid-1970s, a half-Black, half-Italian teenager from the projects in the Far Rockaway neighborhood of Queens started hitting the A train with a spray can. At 18, he legally changed his name to Rammellzee, and since then no conversation about graffiti culture or the late-20th-century New York art scene has been complete without mentioning his influence.In RAMMELLZEE: Racing for Thunder (Rizzoli, $65), the first major monograph on the multi-hyphenate artist, who died in 2010, the co-editors Maxwell Wolf and Jeff Mao intersperse more than a half-century’s worth of art, photos and archives with an oral history as told by the fellow artists, friends and family who knew him best.Rammellzee spray-paints the Berlin Wall in 1983, on the occasion of his solo exhibition “Gothic Futurism.”via Silvia Menzel and Rizzoli“Untitled (Bands of Steel),” painted in acrylic and spray paint on carpet, circa 1985.via the Estate of Rammellzee and Rizzoli“In the Middle of Robbin the Bank the Dam Yard Bizzard Hits Us,” 1983.via D.E.F Collection, Paris and RizzoliAs a teenager Rammellzee conceived his theory of Gothic Futurism, which saw language as a “tool of oppression” and graffiti writers as heroes in a fight to liberate the world of letters. In the ’80s he began experimenting with new materials and a more formal studio practice, producing large-scale paintings, frescoes, sculpture, music, performance art and the elaborate costumes he wore to embody otherworldly, gender-fluid characters, like “Chaser the Eraser” and “Shun-U.”“Tower of Panzerism, The S.S. Speedway,” 1984.Matt Grubb / Red Bull Media HouseRammellzee as Chaser the Eraser, c. 2000.Mari Horiuchi, vía RizzoliRammellzee was an “enigma,” Wolf writes: “manic genius, style god,” and also “irascible overlord” and “to some, simply an incoherent madman.” A pioneer of hip-hop and freestyle, he played with idiosyncratic nasal and at times comic vocal styles that were widely mimicked in early rap and would inspire artists like the Beastie Boys and Cypress Hill. He had an on-and-off friendship with Jean-Michel Basquiat, who helped produce his 1983 vinyl single “Beat Bop,” and he had a small part in the 1984 film “Stranger Than Paradise,” whose director, Jim Jarmusch, called him an overlooked genius.Rammellzee in his apartment in New York City’s TriBeCa neighborhood, c. 1991.Monica Fritz
      “He was not part of anybody’s school,” the artist Henry Chalfant says in the book. “Rammellzee literally invented his life and the compelling mystique around himself and his work. This is a quintessentially American thing.” More