Just when you thought Banksy was the real trickster of the art world, along comes . . . Hanksy, the puntastic street fartist. His use of satire not only challenges the smug, but playfully subverts the current street art standard with a necessary dose of light antagonism.
Check out the video after the jump to see a short documentary about Hanksy’s mysterious persona: his meager “greeting card” beginnings and current mission statement, which centers on a dream of meeting Tom Hanks.
Graffiti artist Sofles is the subject of a new video from Selina Miles titled Infinite. The video captures Sofles as he gets to work. Through time-lapse Sofles is captured wandering through a huge building, perhaps an old school or warehouse. He puts up pieces, tags, murals – over twenty throughout the video. Sofles’ impressive work ranges in size from quick tags to huge rolled murals and styles that are similarly varied. Be sure to check out the video Infinity after the jump. [via]
The Painted Desert Project amazingly unique project bringing street art to the Navajo Nation and Native American culture to street artists. Impossibly interesting artist and doctor, Chip Thomas lives in the Four Corners area and organized the project. Thomas invites various street artist to the area in order to create original art reflecting different aspects of Navajo culture. However, Thomas requests the artists research Navajo culture, interact with the community, and even attend sweats with tribal elders prior to conceiving and creating their work. In this way, the street art illustrates each artists personal interaction with the culture.
The work of Paris based artist Mademoiselle Maurice is a peculiar type of street art. These new pieces especially emphasize these pleasant peculiarities. She typically forgoes paint in favor of mediums uncommon on the street such as lace or paper. This newest artwork required over 30,000 folded pieces – a sort of mass origami street art. Mademoiselle Maurice was able to complete the projects with the help of hundreds of volunteers, many of them local school children. She thus covered the steps and entrance of the Montée St-Maurice as well as hand a nearby mural. [via]
Street artist Levalet more than only uses the public space as a canvas. The artist’s wheat paste images interacts with the city itself. His life size subjects lean, sit, and lie down on the surfaces they are pasted on. He even incorporates everyday objects such as books and umbrellas to further bring his work to life. You can find his work on walls, on the street and in galleries, scattered throughout Paris, France. [via]
Jean Cocteau once said,”a poet doesn’t invent, he listens.”
The pieces built by self-proclaimed “melancholic post-situationist” artist Robert Montgomery, likewise, work as interesting dreamy receivers or lightning rods, absorbing bursts of humanity’s collective subconscious in relation to varying environments.
Translating frequencies and teetering between genres, Montgomery, in Interview Magazine asserts, “Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn’t get all cynical about them just because Banksy made some money.”
Strainers are tools not often seen outside of the kitchen, much less in the art studio. However, artist Isaac Cordal puts them to use in a series of street installations titled Cement Bleak. For the series Cordal sculpts human faces into the mesh of the hand held strainers. The strainers are then inserted into the ground. Sunlight or streetlights pass through the strainers and project a shadow portrait onto the sidewalk. The nature of strainer’s mesh allows for a strangely realistic face from several angles of light.
Miranda Donovan explores the invasion of graffiti from the exterior world of landscapes and buildings to the interior one– of bathrooms, bedrooms, and yes, even galleries, where street artists are finding more and more of a home these days. However, Donovan’s work is not just about street politics or the art of tagging here– each piece also examines the quality, textures, associations, and contexts of walls themselves.
Of her work, in Cool Hunting, Donovan states, “The point of departure is a wall, which so often people just overlook . . . It’s something in our daily space constantly, internally and externally, and there’s a romanticism in that, which draws me in. The different combination of languages, the grid, the broken plaster breaking up that grid, the colors, the erosion, is something that really excites me. It’s about combining those languages to tell a story about the passage of time and the analogy of the human psyche, peeling back the onion layers to find the core.”