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    “S H A R E” by Giulio Vesprini in Italy

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    For the first time, Street Art has taken root in Civitanova Marche’s industrial zone—a striking intervention in a landscape defined by functionality and productivity. Spearheaded by local artist Giulio Vesprini, this initiative marks more than just a creative endeavor; it’s a bold cultural statement. “Bringing art to a context where culture struggles to flourish is like planting a seed in concrete,” Vesprini reflects. The mural, rich in color and layered meaning, reimagines the grey surroundings by infusing them with artistic life.This artistic mission closely mirrors the ethos of Navitas Coworking, the forward-thinking entity that has transformed a traditionally industrial space into a vibrant coworking hub. Their support of this project signifies a modern form of patronage—investing in art not for its decoration, but for its power to inspire, transform, and recontextualize. In doing so, they foster creativity in places that have long been overlooked by cultural initiatives.Vesprini’s mural draws from a palette deeply connected to the area itself. He meticulously sampled local hues, creating a composition that feels both organic and intentional, as if nature were subtly reclaiming the concrete. The result is not just a visual break from monotony, but a vision for what such spaces can become—creative, alive, and dynamic. Here, beauty transcends aesthetics and becomes a declaration of purpose and possibility.Born in Civitanova Marche in 1980, Giulio Vesprini is no stranger to the interplay between art and architecture. With academic roots in fine arts and architecture, his practice is grounded in minimalism and the reactivation of public spaces. His works often explore underutilized or economically unappealing areas, proposing new ways to view and use them. In this latest project, Vesprini doesn’t just paint a wall—he redefines the space around it. More

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      Hï Ibiza x Fin DAC Collaboration

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      As part of the high-profile launch of James Hype and MEDUZA’s ‘Our House’ summer residency on Monday night’s at the world’s number one nightclub Hï Ibiza, acclaimed artist Fin DAC has unveiled a celebratory collection and bespoke body of work in its honour.This one-of-a-kind series including a mural, original artworks and limited edition prints celebrates the groundbreaking innovative residency set to electrify the club’s main space, The Theatre, with a fresh and unforgettable energy. Fusing DJing, live piano, cutting-edge MIDI controls, and spontaneous performance energy, the relentless innovation of MEDUZA continues with hybrid-live concept MEDUZA3, as James Hype debuts his explosive new visual performance concept, SYNC. Hype’s actions on the decks will seamlessly synchronise with an array of light cues on the LED booth to showcase and illustrate his next-level technical skills, high-intensity energy like never before.This art-meets-music collision, taking place over the seasonal months of June, July, August and September 2025 showcases a far reaching and unifying collaboration of truly top tier artists. Within their respective creative pursuits; Fin DAC, the globetrotting Irish mural master, Hï IBIZA; the number one nightclub for the last four years and James Hype and MEDUZA; two of the biggest global DJs, each party sits nearly peerless at their top of their games.Expertly overseen by Club Class Music Management, the curators of unforgettable nightlife and West Contemporary – leading art concierge and consultancy, each arm of this union injects a standard of excellence that makes for a fascinating link up with Fin DAC tasked with creating the visuals to amplify and promote the ‘Our House’ club night.Ibiza-watchers have already noticed the unmistakable marks of Fin DAC’s well-used spray cans as the veteran of over 150 murals across the world has already nailed his creative mast to the wall by painting ‘Ultra’. This 30ft x 30ft female portrait mural, equipped with his trademark painted mask, now adorns the side of the Hï IBIZA premises, purposefully placed so that it immediately faces the soon-to-be-full queues of revellers lining up to complete their club pilgrimage to the world’s very best. Over the coming months, four of Fin DAC’s artworks and characters, titled ‘Delta’, ‘Ultra’, ‘Exciter’ and ‘Violater’ will be the lead images of ‘Our House’, promoting the innovative live show at the club, with the expected levels of creative excellence befitting of such a major link up.As part of the process, Fin DAC created images of James Hype and MEDUZA wearing his famous masks for the important show posters – a first for the artist.Original artworks and limited editions will be both on display and available to purchase over the summer season, with only 50 editions of each image created by an artist known for selling out entire collections of works within minutes of release. Each hand-signed and numbered print has a uniquely hand drawn tattoo and artist logo.These will be available by West Contemporary Editions, beginning in June.For tickets to the “Our House” residency visit here. More

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      “Tilsammen” and “From Tithe to Taxes” by Telmo and Spear in Aalborg, Denmark.

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      “Tilsammen” by TELMOWith the 12th year of ‘Out in the Open’ Belgian SPEAR and Dutch TELMO has just finished two new murals in Aalborg, Denmark.“Tilsammen” literally carries the sense of “to together”, which makes sense when thinking of it as things being added up or gathered into a whole. Going towards being together.” -TelmoFor the last 13 years TELMO has been part of the Duo TELMO MIEL, world-renowned for their gigantic surrealistic murals.Famous worldwide for his incredible attention to detail featuring playful abstractions of reality, the artist aims to inspire the viewer to approach subjects from new perspectives – layer upon layer.Recent paintings contain playfulness in abstraction of reality, attempting to make the viewer see subjects with a different eye; Growing into using multiple images, layered over one another. By cutting away a top layer, another comes forward to complete the design. This provides a convenient abstraction, but the intend is more so to create a sort of marriage between figurative parts. Pieces that weren’t normally seen as one, but now complete each other in weird and beautiful ways.“From Tithe to Taxes” by SPEARIn the 16th century, Tiendeladen served as a central storage facility for the natural goods that farmers delivered as tithe – a tax to the church paid in the form of crops. This cultural and functional history is a vital source of inspiration for SPEAR, who reactivates the site’s significance through layers of symbolism, visual references, and narrative composition.The mural functions as a kind of temporal membrane – an artistic meeting point where the structures and rituals of the past are reinterpreted through a contemporary lens. With precision in detail, sensitivity in texture, and a strong sense of compositional balance, SPEAR stages history with a visual poetry that invites reflection and rediscovery, bringing history into a powerful contemporary expression.SPEAR is known for his distinctive artistic practice, where classical painting techniques merge with a raw, urban aesthetic, bringing classical painting into contemporary.By drawing on the technical mastery of the old masters and anchoring it within contemporary visual culture, he creates works that balance the historically rooted with the present, often manifested in monumental murals.This artistic dialogue between past and present is particularly evident in the current work, which is based on the historical context of Tiendeladen in Aalborg.“This mural was created on Tiendeladen in Aalborg, a historic tithe barn where the Church once collected taxes from farmers. By painting directly on this site, I want to update and expand on the conversation about taxation and its role in society today. One side of the mural shows a hand secretly taking grain from a nearly empty sack beneath dead flowers, symbolizing opacity, misuse of resources, and erosion of trust. The other side features a transparent jar pouring out grain, with flourishing flowers above it, this jar is a direct metaphor for openness and transparent management of public resources, nurturing a thriving democracy.” – SpearPhoto credits: Fleron Fotografi More

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

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      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

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      New Collection by Yellowpop x André Saraiva

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      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

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

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      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

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      In Miami, Wynwood Walls Museum Evolves Along With Street Art

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      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

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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