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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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      in Street Art

      As Graffiti Moves From Eyesore to Amenity, Landlords Try to Cash In

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      Julian Phethean’s first canvas in London was a shed in his backyard where he covered the walls with bold lettering in spray paint. When he moved his art to the city’s streets in the 1980s, it was largely unwelcome — and he was even arrested a few times.“We had nowhere to practice,” he said. “It was just seen as vandalism.”These days, the canvases come to Mr. Phethean, better known as the muralist Mr Cenz. Recent facades, which he shares with his sizable following, have included an abstract mural on a Tesla showroom and a portrait of Biggie Smalls, sponsored by Pepsi Max.“I never would have envisioned that I’d be able to do it for a living,” he said.Landlords wanting to attract young professionals once scrubbed off the rebellious scrawls. That was before graffiti moved from countercultural to mainstream. Now building owners are willing to pay for it.From Berlin to London to Miami, the wider acceptance of graffiti has attracted developers looking to expand into trendy areas, companies wanting to relocate to hipper neighborhoods and brands seeking creative ways to advertise their products.But that attention to once overlooked neighborhoods has pushed up rents, leaving artists, fans and local officials with a quandary: What happens after the street art that brought character becomes commodified?Street art surrounding the Tea Building, a former tea-packing plant in London’s Shoreditch neighborhood.Sam Bush for The New York TimesWe 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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      in Street Art

      Las torres de lujo abandonadas que el grafiti dejó al descubierto

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      En el corazón de Los Ángeles, los edificios fueron un fracaso financiero que mucha gente había ignorado, hasta que los artistas urbanos pintaron sus ventanas.Un trío de relucientes rascacielos fue diseñado para albergar departamentos de lujo, un hotel cinco estrellas y una galería al aire libre con negocios minoristas y restaurantes. Las instalaciones incluirían salas de proyección privadas, un parque de casi una hectárea, servicios de aseo para mascotas y una piscina en la azotea. Un entrenador físico de celebridades ayudaría a crear un estilo de vida saludable para los residentes.El proyecto llevaba por nombre Oceanwide Plaza, y su director ejecutivo declaró que iba a “redefinir el paisaje urbano de Los Ángeles”. Un ejecutivo de la firma de diseño dijo que crearía “un vibrante paisaje urbano”. El sitio web aseguraba que sería un lugar de “momentos inesperados y extraordinarios”.Hay quienes dirían que todas estas afirmaciones resultaron ser ciertas, pero no de la manera en que se imaginó originalmente.El financiamiento para el proyecto se evaporó al poco tiempo. Las torres se erigieron, pero no se terminaron y quedaron vacías. Plagada de problemas financieros y legales, la plaza se quedó en un limbo silencioso durante cinco años.Hasta que, hace poco, una comunidad clandestina la convirtió en un inesperado centro de atención.Ahora, esos rascacielos se han convertido en un símbolo de reputación callejera, “bombardeados” con las obras de decenas de escritores y artistas del grafiti. Sus alias cubren ventanas que se elevan a más de 40 pisos y se ven desde las autopistas cercanas.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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      in Street Art

      These Downtown Los Angeles Towers Became a Graffiti Skyline

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      Skyscrapers in the heart of Los Angeles were a financial failure that many people had ignored — until graffiti artists tagged their windows.It was a billion-dollar aspiration meant to transform a neighborhood.A trio of shimmering skyscrapers would feature luxury condos, a five-star hotel and an open-air galleria with retailers and restaurants. Among the amenities: private screening rooms, a two-acre park, pet grooming services and a rooftop pool. A celebrity fitness trainer would help curate a wellness lifestyle for residents.The vision was called Oceanwide Plaza, and the chief executive said it would “redefine the Los Angeles skyline.” An executive for the design firm said it would create “a vibrant streetscape.” The website said it would be a place of “rare and unexpected moments.”All these statements, some would say, proved to be true. Just not in the way originally imagined.Funding for the venture quickly evaporated. The towers went up but were unfinished and empty. Plagued by financial and legal issues, the plaza was in a quiet limbo for five years.Until, recently, an underground community pulled it into an unforeseen spotlight.Now those skyscrapers have become a symbol of street swagger, “bombed” with the work of dozens of graffiti writers and artists. Their aliases cover windows that rise more than 40 stories, visible from the nearby highways.“Everybody’s talking about it, of course,” said Ceet Fouad, a French graffiti artist based in Hong Kong, known for his commissioned murals featuring cartoon chickens. “We said it’s amazing what’s happened — we dream to have a place like this. In the middle of Los Angeles? It’s the best promotion you can have.”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