The Celebrity Who Is Now Occupying Basquiat's Noho Studio

File this under pretentious and disgusting:

Guess who's about to move into Jean-Michel Basquiat's old studio in Manhattan's Bowery neighborhood? It's the film star Angelina Jolie, who will pay a monthly rent of $60,000 for the property. From now on, call it Atelier Jolie.

The Manhattan building that once housed the studio and living quarters of late artist Jean-Michel Basquiat has found a new tenant. Last week, actress and humanitarian Angelina Jolie announced that she had secured 57 Great Jones Street, a two-story structure owned by Andy Warhol for 20 years, for a new creative endeavor platforming underrepresented fashion workers. With 6,600 square feet at her disposal, Jolie is working to create “a community of creativity and inspiration, regardless of socio-economic background” by providing resources and support to an international network of tailors through Atelier Jolie.

John Roesch and Garrett Kelly, the two Meridian Capital Group brokers who negotiated the deal, confirmed to Hyperallergic that Jolie signed an eight-year lease on the historic building that had been on the market for $60,000 a month since last November. Pop artist Andy Warhol bought 57 Great Jones Street, situated in Manhattan’s Noho neighborhood, in 1970 before leasing it to his close friend and fellow artist, Jean-Michel Basquiat, in 1983. Basquiat both lived and made art in the space until his untimely death at age 27 in 1988.

Basquiat, a Brooklyn native of Haitian and Puerto Rican descent, worked prolifically in the space as he continued to contest the boundaries between so-called “high art” and “low art” through his signature street art style that addressed themes of race, class, religion, and mortality. During the 1980s, Basquiat and Warhol shared a very close friendship, operating as collaborators, confidantes, and even creative competitors. Their friendship was widely publicized, but became fractured after their joint exhibition’s poor reception also yielded characterizations of Basquiat being “an art world mascot.” Though the two never formally reconciled, Warhol’s death in 1987 reportedly contributed to Basquiat’s downward spiral alongside his intense rise to fame and mistreatment as a Black man in the arts scene. Basquiat was found dead in the Noho apartment on August 12, 1988, from a heroin overdose.

In 2016, the Greenwich Village Society for Historic Preservation installed a plaque honoring Basquiat on the building’s exterior, which had long been tagged by graffiti artists paying tribute to the late visionary. Village Preservation’s Executive Director Andrew Berman described the building as “a uniquely significant part of New York City’s cultural heritage and landscape,” expressing pride in its landmark designation.

“It is our hope that this building will remain intact and in some way accessible to the public forever, in order to allow all who wish to the ability to appreciate its historic significance,” Berman told Hyperallergic.

The building’s first floor is home to an exclusive, invite-only Japanese restaurant called Bohemian. Neither Atelier Jolie nor the restaurant could be reached for inquiries.

Roesch told Hyperallergic that Meridian Retail Leasing negotiated the deal with Jolie for about six months. “We had a ton of offers from reputable operators, but her concept seemed best fit for the building and its history,” he said. Perhaps nodding to Basquiat’s reuse of existing materials for the surfaces of his work, Atelier Jolie pledged a commitment to sustainability through the use of “leftover, quality vintage material and deadstock,” focusing on the production of “quality heirloom garments with personal meaning.”

The news has yielded a mixed response on social media, with some locals lamenting the takeover of the historic building by a celebrity and others welcoming Jolie’s vision for the space. The Atelier will reportedly maintain the graffiti in honor of Basquiat’s early moves with fellow artist Al Diaz as the street art duo SAMO. Roesch noted that while the building has been whitewashed in the past, it was “immediately tagged back up.” Jolie “mentioned that she loved the street art and would potentially like to preserve it,” he concluded.

 

 

 

U.K.’s Oldest Cathedral Recruits Ant Steel for Its Artist-in-Residence Program

Art Net news -

Steel and other community members will create large-scale works for an exhibition in November.

Ant Steel is not the type to scale walls or stealthily spray-paint street corners under the cover of darkness. Steel asks for permission to paint. Always. He’s not interested in tags or gaudy throwies and tends to paint vibrant, highly realistic works as community projects.

Steel’s more formal approach to graffiti stems from a career in graphic design that involved preparing images for advertisement. If it was a spray job, Steel would go and watch the painters dangle off the side of giant billboards, his feet firmly on the ground. Only more recently has Steel begun creating a different type of public art: a mural of Queen Elizabeth II outside a shopping center, an extensive pro-Ukraine painting on a town wall—and now, a series of works as artist-in-residence at St Albans Cathedral, Britain’s oldest site of continuous Christian worship.

 

The wall depicting a peregrine falcon Steel painted for St Albans Film Festival. Photo: courtesy Ant Steel.

“Street art has a loud voice and I want it to shout as loud as possible,” Steel told Artnet News. “At the cathedral, I have a remit of running workshops and events. My goal is to be involved within the community.”

To be clear, Steel won’t be transforming the stone walls of St Albans with color, though, in a curious echo, the cathedral is riddled with thousands of carved graffiti marks dating back hundreds of years. Instead, Steel will be creating large-scale works on boards as well as working with children, asylum seekers, refugees and adults to create an exhibition in November, one he believes will “turn some heads.”

Steel’s wall for Ukraine in St Albans. Photo: courtesy Ant Steel.

The Cathedral approached Steel after learning about the workshops he led for the St Albans Film Festival as part of its broader push to attract younger and more diverse audiences. The landmark has been running its artist-in-residence program since 2018.

“The Cathedral has long been a patron of arts and is keen to support local artists,” Kevin Walton, the Cathedral’s Canon Chancellor, told Artnet News. “Ant Steel’s fresh and engaging artistic offer and his dedicated approach to community work matched our vision.”

Walton was also drawn to the idea of a contemporary graffiti artist playing off the marks worked into the Cathedral. “We are consciously building on our long heritage in this place,” Walton said.

See more images from the artist in resident program below:

Ant Steel at work outside St Albans Cathedral. Photo: courtesy Ant Steel.

 

 

 

Ukraine Marks First Year of War With Banksy Stamp

Hyperallergic reports - On February 24, the first anniversary of Russia’s ongoing war in Ukraine, the Ukrainian postal service released a new stamp featuring a Banksy mural and the shorthand “FCK PTN!” in Cyrillic. The mural, which the British street artist painted in the fall of 2022 on a bombed building northwest of Kyiv, portrays a young boy in Judo robes flipping an older man. Many speculate Banksy depicted Vladimir Putin getting body slammed, as the Russian President is reportedly a Judo practitioner. 

In a press statement, the national post shared that the image is “allegorical,” representing the struggle between Ukraine and Russia. “Our small country, compared to Russia, courageously entered into an unequal battle with the enemy and, despite all the difficulties, is fighting for the Victory,” wrote Ukrposhta.

Expecting high enthusiasm for the stamps with Banksy’s mural, Ukrposhta set circulation of the postage at 1,500,000 copies with a limit of 10 sheets per online order. A sheet of stamps costs 180 Ukrainian hryvnia (~$4.90), and the agency says 42 UAH (~$1.14) will go toward ongoing humanitarian efforts in Ukraine, such as rebuilding schools.

Banksy Valentine's Day Mural Revealed in Margate UK

Banksy’s Startling Valentine’s Day Mural Exposes Domestic Violence as a Dark Reality Ignored on the Most Romantic Day of the Year

The anonymous artist's new work appeared overnight in Margate.

As reported in Artnet by Vivienne Chow, February 14, 2023

Banksy, Valentine's Day mascara (2023). Credit @banksy.

Banksy has unveiled a new mural highlighting the fight against domestic violence on the morning of Valentine’s Day, drawing applause from fans around the world who praised the artist for not forgetting the reality of abuse on this supposedly romantic day.

Titled Valentine’s Day mascara, the work appeared overnight on a white brick wall in the British seaside town of Margate, one of the most economically deprived areas of Kent.

 

It depicts a woman dressed as a 1950s housewife tossing a man into a real abandoned freezer, around which Banksy created the work. The woman in a blue checkered dress, apron and yellow household rubber gloves has a broken tooth and a black eye probably caused by a punch. She appears to be enacting her revenge on her abuser, while only his legs are visible, sticking out from the end of the freezer.

Banksy, Valentine’s Day mascara (2023). Credit @banksy.

The work went live on the elusive artist’s Instagram page on Tuesday morning, and garnered more than half a million likes within a couple of hours. Many have left comments praising the artist for drawing attention to the issue.

 

Levels of domestic violence rose during the pandemic lockdowns, and the most recent Crime Survey for England and Wales estimated that 5 percent of adults aged 16 years and above—6.9 percent women and 3 percent men—experienced domestic abuse in the year ending March 2022, equating to 2.4 million adults.

“Sheeeessssh but that’s some people’s reality,” one user wrote on Instagram. “Fighting violence used against women. Even on Valentine’s Day. Always!” wrote another user.

Another speculated if there were other hidden messages behind the work. “Anyone else notice the Ukrainian colors? I think that’s the message,” another user pointed out.

One user guessed if Banksy was female. Another shared their horrible accounts of domestic violence and abuse their family experienced. “Anyone who’s experiencing abuse—get help, get out, get free,” the user wrote.

If you or someone you know is being abused, support and help are available.

https://www.nationaldahelpline.org.uk/

https://ncadv.org/get-help

A Look Inside the Batcave

Like all great graf places, the batcave in Brooklyn is slated for demolition to build ... wait for it ... luxury apartments. But here it is as is.

Dating back to the 1950s, the Gowanus Batcave is one of the City's oldest graffiti havens. Similar to its Queens counterpart 5 Pointz, the Batcave is being demolished and converted into residences. In this immersive 360° video from the New York Times, peek inside the graffiti-filled Batcave before it is gone for good.

 

The Benefits of Looking at Art

 

I knew that when I look at art I feel good - or at least better. Now there is a study proving that out.

Robert Lederman sent me this interesting article which I also think should include street art. What better way to feel the positive effects of art as you walk down the street and see an amazing mural.

 

Past research has shown that looking at art, whether in a museum, gallery, or home, can benefit your mental health. And now, a recent study suggests that the positive effect holds true for viewing art online as well. The study, from the University of Vienna’s Arts and Research on Transformation of Individuals and Society, concluded that just one or two minutes of exposure to online art improved participants’ mood, anxiety, loneliness, and overall well-being.

 

“The results of this paper suggest that online cultural engagement, including but not limited to fine art, does seem to be a viable tool to support individuals’ mood, anxiety, loneliness, and well-being especially when such content is beautiful, meaningful, and inspires positive cognitive-emotional states in the viewer,” the authors wrote. If you are looking to tap into the mental health benefits of art from your own home, there are plenty of options to explore — we suggest starting with Smithsonian’s roundup of the best virtual exhibitions from 2020.

 

Art photo by Charlene Weisler

India's Beautiful and Amazing Truck Art

I have seen these fabulous trucks myself while traveling in India in 2013. Here are some of my photos

 

HyperAllergic's recent post on these trucks gave me added insight into why. Here is a short excerpt and you can read the full article here.

In India, trucks play a pivotal role in transporting heavy-duty goods, journeying for endless kilometers across the country. Most drivers are on the road for weeks, sometimes months at a stretch, living a nomadic life and often sleeping and eating in their vehicles. Their trucks become their travel companions and their homes, and the drivers go to great lengths to beautify them. They work closely with truck artists, describing the illustrations they would like to see.

“A good artist should have a steady hand and an intuitive understanding of color-pairing,” said Raj Dongre, in Hindi, over the phone. He has been embellishing trucks with his designs for over three decades. Before the country was engulfed by the pandemic, he worked in a truck-building workshop in Nagpur. In the summer heat, wearing scruffy clothes, he would dip his brush in colors of indigo and green, and glide it across the truck’s sturdy body, defining the fine feather wisps of a peacock. His hands moved with adept flourish, while songs from old Bollywood films played on his mobile phone.

A superstitious totem often seen on the bumpers is the nazar battu: the mug of a sharp-toothed demon with matted hair, believed to ward off the evil eye. Graffitied catchphrases like “Horn OK Please” and “Use Dipper at Night” (the latter encourages other drivers to dim their headlights at dusk) are now an inextricable part of the truck nomenclature. 

To preserve and promote the country’s ephemeral art tradition, Bawa launched All India Permit (AIP) in 2018, an art project which collaborates with local truck artists. AIP supplies them with Cold Rolled steel sheets on which they paint their vibrant creations. In turn, these pieces become one-of-a-kind collectors’ items, available for sale. A sizable portion of the proceeds goes to the artists, providing them with financial sustenance, particularly during the ongoing quarantine period. AIP’s online platform showcases the artworks, while educating visitors of the art form’s cultural relevance.

“Unfortunately, I think this might be the last generation of truck artists,” speculated Bawa. “Many want their children to work in air-conditioned offices, not on rough highways. Also, there is [financial] uncertainty in this field.” While both Ahmad and Dongre don’t want their kids to inherit their profession, they believe that truck art will never peter out. “Otherwise,” Dongre mused, “the Indian highways will be gloomy and bare forever.” 

 

An Atrocity Rises From the Ashes of 5 Pointz

Before and After Photographs of 5Pointz Mural Site Show a Bleak Transformation

See how a historic monument to graffiti art was unrecognizably transformed into a luxury high rise with the personality of a sad hotel lobby by Valentina Di Liscia

 

Photographs of the recently completed luxury development at the former site of the 5Pointz graffiti murals in Long Island City, Queens, show how a local monument to graffiti art has been unrecognizably transformed. The updated style of the drab, gray residential behemoth is increasingly plaguing neighborhoods across New York City.

In November 2013, two decades’ worth of elaborate murals by such legendary street artists as Blade and Lady Pink were illegally whitewashed overnight at the request of developer Jerry Wolkoff of G&M Realty. Nine of the artists sued Wolkoff for failing to give notice and preventing them from documenting or preserving their work prior to the building’s demolition. In 2018, a federal court ruled that Wolkoff violated the Visual Artists Rights Act of 1990 (VARA) and awarded $6.7 million in damages to 21 artists at the site in a precedent-setting decision to protect aerosol art.

 

 

 

Left: Hrag Vartanian/Hyperallergic / Right Valentina Di Liscia/Hyperallergic

The high-rise residential towers at 22-44 Jackson Avenue feature more than 1,100 apartments ranging in price from about $2,500 to over $6,000 a month, excluding prime penthouses, and 337 “affordable” housing units — although only households making at least $63,000 are eligible to apply for them, according to Patch.

The development’s website boasts “near-countless amenities,” including an indoor pool and basketball court, a gaming room, a co-working space, and a sky lounge that will “allow you to create the life of your dreams.” These various rooms are adorned by monotonous rows of paintings of the ubiquitous “hotel lobby” genre and a bland selection of mid-century-meh furniture. Fortunately, the condos’ planners seem to have scrapped their tacky idea of filling the space with graffiti-inspired artwork in a paltry homage to the 5Pointz artists whose work it destroyed.

 

 

The Australian Town That Turns Trash Into Christmas Trees

A great find from Atlas Obscura -

The traditional public Christmas tree in Lismore, the largest town in the northeast of Australia’s New South Wales, used to be pretty ho-ho-hum.

Before 2015, a Cook pine in the middle of a roundabout was dressed up each holiday season as a tannenbaum. But, like all Cook pines, the tree leans toward the equator, so the effect of decorating it was underwhelming. “Everyone said ‘Oh, that’s a bit sad, it can’t even stand straight,’” says Neil Marks, acting mayor of Lismore City Council.

The first tree—built under the cover of night out of a pile of bicycles—debuted in 2015 and ushered in a new tradition. In subsequent years, the tree has been made from used tires, old road signs, broken umbrellas, and potted plants combined with solar-powered lighting. Materials are sourced from the town’s junkyard, and various town staff take on design and construction.

Like most things in this unusual year, the 2020 tree was a little different. It was a group effort, since most staff worked from home due to COVID-19 restrictions. And the tree is an ode to resilience. “This year’s tree is a nod and a tribute to our rural community,” says Marks, who spoke to Atlas Obscura while he waited to see whether flood waters in town would recede and allow him to travel back to his workplace. “They’ve had a tough time. They’ve gone through fires, a drought, and now a little too much rain.” Local farmers have also suffered from indirect effects of COVID-19, including border closures, despite Lismore being one of the many regions of Australia that has had no active cases of the virus.

This year’s 23-foot tree is made from recycled 6.5-gallon drums that store chemicals for use on farms. The decorations are made from used animal feed bags, piping, and discarded metal.

Many in the community love the scrappy, garbage-inspired trees. “I’m very much in the ‘bah-humbug’ community but, despite my general pessimism, I have grown fond of our tree,” says Lismore resident Gray Wilson.

 

 

 

 

 

Artist Sues Trump’s Border Wall Contractors for Destroying His “Cheese Wall”

Just like with the destruction of 5Pointz in Queens, NYC, the VARA act may provide some justice to the destruction of the Cheese Wall --- Thank you to HyperAllergic for posting ---

 

A 70-foot wall made entirely of cheese, erected near the US–Mexico border as a critique of the current government’s immigration policies, has been destroyed — and the artist behind the work is suing Trump’s border wall contractors for allegedly dismantling it.

Cosimo Cavallaro began working on the sculptural installation, “Cheese Wall,” in March 2019. The Canadian-Italian artist leased a private property in San Diego County to create a barricade out of bricks of expired Cotija, a Mexican cheese named after a town in the state of Michoacan. Cavallaro’s often works with perishable materials to highlight the problem of waste, both in terms of material accumulation and financial extravagance.

In a complaint filed in San Diego federal court, Cavallaro claims that employees of the construction company SLSCO, hired by the Trump administration to fortify the US-Mexico border wall, “knowingly and willfully trespassed onto the site and destroyed the Cheese Wall” on or around October 2019.

Cosimo Cavallaro’s “Cheese Wall,” built of blocks of Cotija cheese, before it was destroyed. (photo by Alan Shaffer; courtesy of Munger, Tolles & Olson LLP)

The suit rests on a potential violation of the Visual Artists Rights Act of 1990, conversion, private nuisance, and trespass. Cavallaro also claims he was “deprived of the opportunity to communicate his artistic message through the Cheese Wall” and “to see the Cheese Wall, at its full length, stand in contrast to the border wall.”

“The loss of Cos’s work has been devastating to him,” Melinda LeMoine of Munger, Tolles & Olson LLP, who is representing Cavallaro, told Hyperallergic.

“For years, he worked to bring his vision of the Cheese Wall to life, only to have trespassers tear it apart and bury it in the dirt. He has never sued anyone before. But he felt that he had no choice here. He cannot recreate what is lost, but he can stand up for what is right,” she added.

Cavallaro standing at the former site of his destroyed “Cheese Wall” near the US-Mexico border. (photo by Alan Shaffer; courtesy of Munger, Tolles & Olson LLP)

The artist is seeking damages, attorneys’ fees, and costs.

When Trump took office, he promised to build a “big, beautiful” wall along the Southwest border to keep out what he falsely described as an influx of Mexican criminals. According to recent analyses, the (now possibly lame-duck) president has built 15 miles of new primary barrier and 350 miles of replacement or secondary barrier; another 221 miles are still under construction. That is a far cry from the 2,000-mile stretch of concrete he had committed to during his 2016 campaign.

In a 2019 interview, Cavallaro said that his installation was meant to “show and expose waste.” The sculpture was supposed to stand at 1,000 feet and was still under construction when it was torn down. By then, it stood at six feet high and contained more than 400 Cotija bricks.

“I don’t like walls,” Cavallaro said. “This is a wall that I can handle, that I’m willing to live with. This wall is perishable, it will not last.”