JAIME ROJO FOR BROOKLYN STREET ART 2012
1. As ever, we saw bodies exposed and a range of emotion expressed, but this year we noticed
a thick swelling of sexual themes
and sensual depictions, surprising
because of the (duh) public nature of the work — and because it
sparks so little outrage or censoring as it competes with advertising
that is always pushing the envelope. Ironically, one of our photo
essays this year contained so many
blatantly sexual works found on
the public street that we had to
label the posting as NSFW.
Finally, and most significantly
for the formalists, we saw a sizeable number of artists working
abstractly — embracing color, pattern, geometry and grand scale
simultaneously. Almost overnight,
the work is the signature, and the
signature is the work in these eyepopping asymetric vibrations that
marry the clarity of a modern 20th
mid-century with the irrational
colorful explosions of the disco
hippies. We were so blown away
by this non-figurative, non-tagged
cacophony we mounted our own
small show called Geometricks
this fall in New York, while unbeknownst to us a larger and similar
show called Graffuturism was being culled by very like-minded ob-
servers of the street in LA.
For 2013 we’re forecasting more
interest in sharing this digital eyecandy, a greater inclusion of influences, the further growth of commercialism, and a regular parade
of Street Artists marching into
galleries, museums, and private
collections.
Periodically over the last decade or so we have heard someone
declaring to have discovered the
signpost for the Death Of Street
Art, but they have ejaculated
their pronouncement prema-
ABOVE:
German artist
ECB. BELOW:
Spanish
street artist
Okuda