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    Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

    Mural on the Southeast Financial Center building in Miami, Florida. All images courtesy of Mantra and Justkids.art, shared with permission

    Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

    January 10, 2025

    ArtNature

    Kate Mothes

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    French artist Youri Cansell, a.k.a. Mantra (previously) continues to brighten neighborhood streets and large cities alike with his vivid insect murals. Drawing on a fascination with nature and its preservation, he creates monumental specimen cases on buildings around the world, filled with a wide variety of butterflies.

    The artist recently completed his largest mural to date in Miami, positioned on the rooftop of the Southeast Financial Center building. Nestled into the surface of a characteristically organized case, a range of colorful butterflies rest alongside the structure’s utility systems.

    Detail of progress on mural in Miami

    The mural features numerous species, including the endangered Miami blue butterfly that’s native to South Florida. “It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” the artist says.

    Additional recent projects include a giant glass-fronted display on the side of a building in Brooklyn and a towering, narrow composition in downtown Houston. Find more on Mantra’s website and Instagram.

    Houston, Texas

    Brooklyn, New York

    Crans-Montana, Switzerland

    Breda, The Netherlands

    Detail of progress on mural in Miami

    Rombas, France

    Detail of progress on mural in Miami

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    Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

    “The Minotaur Room.” All images courtesy of Historic England, shared with permission

    Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

    January 3, 2025

    ArtDesignHistory

    Kate Mothes

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    Behind the unassuming red brick facade of a gable-roofed flat in Birkenhead, England, sits a home like no other. The only clue passersby would have had, until recently, was a pair of hand-sculpted figurative columns that flanked the wooden front door. But to step inside this corner flat near Liverpool is to be transported into the imaginative world of Ron Gittins.

    A gifted artist who also dabbled in local acting groups and music, Gittins was a complex character. He took day jobs here and there, but he was much more inclined to work for himself, on his own terms. Anecdotally, he was known for his zest for life and determination to do great things; his sister recounts that he once exclaimed to their brother, “I will not be ignored!” His creativity shone through in every facet of his life, and his home is no exception.

    Hallway

    In a ground floor rented flat, which he let in 1986, Gittins created monumental hearths in the shapes of a lion, minotaur, and relief-adorned Roman altar. He painted bright murals inspired by ancient Greece, Rome, and Egypt, including a central hallway adorned with hieroglyphs. The columns at the front door were reminiscent of palatial stone depictions of pharaohs and deities.

    Gittins turned to the era of English romantic portraiture in one room’s Georgian era-inspired murals, which feature framed paintings in a row above an ornate hearth. And in the bathroom, the walls swim with aquatic-themed images.

    “Although Ron was extremely proud of his artwork, he generally refused entry to landlords, maintenance staff, and any kind of officialdom in order to protect the fantasy world he had created for himself,” says a statement from Wirral Arts & Culture Community Land Trust, which now owns and manages the property. It adds, “After all, not every property owner would allow their tenant to build an epic concrete lion fireplace in their living room.”

    Gittins’ tenancy agreement permitted him to “decorate the interior of the property to his own taste and the external porch in classical style without the prior written consent of the Landlord.” He also had access to the garden, which he was able to landscape at his own expense.

    “The Lion Room”

    Few people were granted the privilege of seeing Gittins’ creations during his lifetime, as he was protective of his art and preferred to maintain his privacy. He continued to collect unique objects and transform his home into his ultimate fantasy, his self-described “villa.” Then, following his unexpected death in 2019, its fate was suddenly uncertain.

    In December 2021, artist Jan Williams—who is also Gittins’ niece—along with Chris Teasdale of The Caravan Gallery, launched a campaign to save the flat. Along with a dedicated team of volunteers comprising family, friends, and experts in arts and heritage, a last-minute purchase at auction was successful in March 2023. Since then, the team has continued caring for the installations and sifting through the artist’s eclectic collection of books, magazines, videos, clothes, furniture, and trinkets.

    The Wirral Arts & Culture Community Land Trust continues to catalogue Gittins’ belongings and work to preserve this unique environment for years to come. Learn more and take a virtual tour on the organization’s website.

    “The Georgian Room”

    Ceiling of “The Georgian Room”

    The “Roman Altar” in the kitchen

    Bathroom

    “The Minotaur Room”

    “The Georgian Room”

    Exterior of Gittins’ flat in Birkenhead, England

    Front door columns

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    Community, Traditions, and Resilience Ring Through New Public Works for Tbilisi Mural Fest

    Community, Traditions, and Resilience Ring Through New Public Works for Tbilisi Mural Fest

    December 31, 2024

    Art

    Kate Mothes

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    Residents and commuters alike can now enjoy more than 20 new, large-scale public artworks across five Georgian cities thanks to the 2024 Tbilisi Mural Fest (previously). The sixth edition facilitated new installations in Kutaisi, Batumi, Gori, and Gurjaani—in addition to its namesake community—by nearly a dozen artists from around the country and beyond.

    Many of the works reference local traditions, like Afzan Pirzade’s depiction of vintners holding a basket of grapes, representing a form of agriculture common in the eastern region of Kakheti. Tina Chertova incorporated a traditional lace-like pattern into a stunning, blue, multistory mural featuring birds, people, deer, and other decorative motifs. And in others, figures assume mythical personas, prepare food, and portray togetherness.

    This year, the monumental compositions adorn the sides of buildings that range from two stories tall to more than a dozen, the largest painting reaching 65 meters tall and 20 meters wide. Through vibrant splashes of color, the works celebrate resilience, community, and local customs in an array of styles.

    Explore more on the festival’s website.

    Innefields, Batumi

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    MonkeyBird’s Majestic Murals Bend Time Through Elaborately Stenciled Compositions

    Detail of “Le Présage,” Metz, France (2023). All images courtesy of MonkeyBird, shared with permission

    MonkeyBird’s Majestic Murals Bend Time Through Elaborately Stenciled Compositions

    December 19, 2024

    Art

    Grace Ebert

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    For more than a decade, French artists Louis Boidron and Édouard Egea have been collaborating as MonkeyBird (previously). The pair are known for their large-scale stenciled murals rich with symbolism, architectural structures, and elaborate motifs, many of which reach for timeless themes related to human emotion, experience, and the inevitability of change.

    “The Arch of Peace” is one of their most recent pieces and transforms the facade of an Aarhus building into a monumental homage to peace and justice. Commissioned for the 17 Walls Project, the mural draws on one of the United Nation’s Sustainable Development Goals to create a more inclusive and resilient future.

    “The Arch Of Peace,” Aarhus, Denmark (2024)

    “The Universal Declaration of Human Rights, whose origins lie in France, served as our central inspiration,” the artists shared. “We reinterpreted the ornamental framework of the original engraving: angels, arches, and colonnades symbolize the moral pillars essential for stability in a constantly changing world.”

    As is typical in a MonkeyBird mural, two anthropomorphized creatures donning robes stand at the center of the composition, guarding a library based on that of Trinity College Dublin. “Their attributes of power and intellect take on true meaning only when guided by reason and ethics,” the artists add.

    Similarly mythic and majestic figures appear in a pair of murals in Fontainebleau and Metz, France, the latter of which features an avian creature holding an hourglass high in the air. Titled “Le Présage,” or “The Omen,” the piece directly points to the artist’s interest in the passage of time and collapsing the boundaries between past, present, and future.

    In February, the pair will join the Montgomery Art Project in Alabama to create a mural and immersive installation of their papercuts. If you’re local, keep an eye out for opportunities to participate in one of MonkeyBird’s workshops, which will engage the community in cutting their stencils and creating public paste-ups. Until then, pick up a print in their shop, and follow their latest projects on Instagram.

    “Le Présage,” Metz, France (2023)

    Detail of “The Arch Of Peace,” Aarhus, Denmark (2024)

    Fontainebleau, France (2023)

    Aubervilliers, France (2022)

    Fontainebleau, France (2023)

    Fontainebleau, France (2023)

    Fontainebleau, France (2023)

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    Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics

    ‘Wild Things’ (2024), glass and ceramic mosaics. Commissioned by MTA Arts & Design for 14 St-7 Av station. Photo by Photo: Trent Reeves. All images © Fred Tomaselli and NYC Transit 14 St Station Complex, shared with permission

    Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics

    November 13, 2024

    Art

    Kate Mothes

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    Known for his large-scale, collaged resin paintings and ongoing series of reimagined front pages of The New York Times, Fred Tomaselli is captivated by what he describes as the “friction” between beauty and ugliness or internal and external forces. He often observes interactions between humanity and nature through rhythmic patterns and vibrant colors.

    In New York City’s 14 St-6 Av and 14 St-7 Av subway stations, a series of new murals titled Wild Things have been unveiled in the historical spirit of the MTA mosaics. An avid birder, the Brooklyn-based artist highlights species that live year-round in New York City.

    Detail of mosaic in 14 St-7 Av station

    Scenes brightening up passageways and stairwells include orioles mobbing a falcon, a bright sky full of electric blue clouds, a spiral-eyed, cosmic cardinal, and more.

    Wild Things marks Tomaselli’s first permanent public artwork in Manhattan and reflects his mixed-media approach to collage in ceramics and glass. Commissioned by MTA Art & Design, the mosaics join more than 350 permanent installations accessible to public 24/7.

    Learn more about the artist’s work on Instagram. You might also enjoy Contemporary Art Underground, a celebration of New York City Subway art, Nick Cave’s 360-food “Soundsuit” installation, or Nancy Blum’s sprawling tile blossoms.

    Passageway from 7 Av to 6 Av

    Detail of work in passageway from 7 Av to 6 Av

    Mosaic located in 14 St-6 Av

    Mosaic located in 14 St-6 Av

    Detail of mosaic located in 14 St-6 Av

    Mosaic located in 14 St-6 Av

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    In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice

    All photos by Jonathan Furlong, courtesy of the artist ObeyGiant, shared with permission

    In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice

    October 11, 2024

    ArtClimateSocial Issues

    Grace Ebert

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    At 36 Boundary Street in London, a bold new mural rises 15 feet above the street. Anchored by scales atop a small seedling, the public artwork by Shepard Fairey addresses environmental justice and our responsibility to care for the planet.

    “I believe that our individual and collective actions will dramatically impact current and future generations, be it for the better or for the worse. It is our responsibility as the citizens of Earth to protect it,” the artist said.

    A series of workshops with young Londoners inspired the bright, graphic motif. The group was interested in expanding access to green space and reducing air pollution, and given the recent convening of the United Nations General Assembly focusing on international cooperation, connection between countries and cultures was top of mind.

    The project was produced by Charlotte Pyatt, Simon Butler, and Migrate Art, which has raised more than £2.1 million in the last decade through creative projects in refugee camps in France and Northern Iraq, with the Indigenous Xingu people in the Amazon, and in collaboration with U.K.-based charities feeding London’s unhoused population.

    Find more from the artist on his website.

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    An Expanded Edition of JR’s Monograph Recounts the Power of Socially Engaged Art

    All images © JR, courtesy of Phaidon, shared with permission

    An Expanded Edition of JR’s Monograph Recounts the Power of Socially Engaged Art

    October 4, 2024

    ArtBooksSocial Issues

    Jackie Andres

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    Traveling to different regions across the globe, French artist JR envisions grand projects that call to humanitarian issues and collective action. At the forefront of his practice is a persistent query, rooted in a palpable yearning for change and strong belief in the power of art.

    JR: Can Art Change the World? chronicles the artist’s phenomenal range of participatory efforts, from mural-laden buildings to photographic installations to performance art. Originally published in 2015 and later updated in 2019, an even newer edition featuring a half-decade of JR’s latest works is slated for release by Phaidon later this month. The 2024 version includes a whopping 390 photos and illustrations, as well as a foreword by George Lucas.

    Among the four new chapters included in the expansion, you might recognize more recent projects such as “Tehachapi,” a poignant collection of murals focused on the lives of incarcerated individuals, and impressive optical illusions from the artist’s ongoing “Trompe l’œil” series.

    Pre-order JR: Can Art Change the World? in the Colossal Shop to be one of the first to page through the monograph.

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    An Ancient Peruvian Site Reveals a Remarkable Painted Throne Room

    All images courtesy of the Denver Museum of Nature & Science, shared with permission

    An Ancient Peruvian Site Reveals a Remarkable Painted Throne Room

    September 25, 2024

    Art History Science

    Kate Mothes

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    Between about 350 and 850 C.E., a society known as the Moche thrived in the coastal valleys of northern Peru. Pañamarca, in the Nepeña Valley, is the southernmost center of the Moche culture and the site of a remarkable series of recent archaeological discoveries, including the latest: a monumental pillared hall with vibrantly painted walls.

    The Archaeological Landscapes of Pañamarca, founded in 2018, is a collaboration between Peruvian and U.S. archaeologists, art historians, and conservators. Its research and digs are supported by the National Geographic Society, the Institute of Latin American Studies at Columbia University, and the Avenir Conservation Center at the Denver Museum of Nature & Science.

    This year, archaeologists uncovered a pillared room containing evidence of its use by a high-status female leader. Scenes depict the powerful woman receiving visitors in procession or seated upon a throne.

    “Scholars will debate whether the woman painted on the walls of the throne room is human or mythical (a priestess, goddess, or queen),” researchers say. “But the physical evidence of the throne, including the erosion to its back support and the recovery of greenstone beads, fine threads, and even human hair, make clear that it was occupied by a real living person—and the evidence all points to a seventh-century woman leader of Pañamarca.”

    The figure portrayed on the walls is associated with the crescent moon, the sea and its creatures, and the fiber arts. Additional murals uncovered this past July reveal a scene of an entire workshop of women spinning and weaving, along with a retinue of men carrying textiles and the leader’s crown—which includes her braids.

    Lisa Trever, professor of art history at Columbia University, says, “Pañamarca continues to surprise us, not only for the ceaseless creativity of its painters but also because their works are overturning our expectations of gender roles in the ancient Moche world.”

    The colorful wall paintings of Pañamarca were first recorded in the 1950s, depicting battles between supernatural beings, priests, warriors in procession, a unique two-faced man, and ceremonial activities.

    “Moche archaeology is well known for its rich, elite tombs, impressive architecture and artworks, and elaborate religious artifacts and imagery,” says a project statement. Atop a granite hill, the site consists of a stepped adobe platform, two lower platforms, a walled plaza, and a number of other structures.

    Dig deeper on the Pañamarca project’s website and Instagram.

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