Stephen Sprouse is widely regarded as the artist and fashion designer who brought counterculture style to a broader American audience. A high-profile member of New York’s art, fashion and music scene, he rose to prominence in the early Eighties with his revolutionary fusion of uptown sophistication and downtown punk sensibility, gritty street style and glamorous high fashion. Continue reading Pink Thing of The Day: Louis Vuitton Stephen Sprouse’ Graffiti Trunk By Marc Jacobs
The legendary French graffiti and stencil artist Blek Le Rat was in town recently to do some press for his current solo exhibit in the Chelsea Gallery District. While he was here, he paid homage to one of his peers of the street art world with this stenciled likeness of the late Richard Hambleton in the First Street Green Art Park. Very cool!
At first glance, it may appear as if this car has been vandalized, but when you really examine it from all sides, it’s pretty obvious that it’s a work of mobile street art from the artist known as Mad Steez.
This way, you can take the art wherever you go!
Anyone familiar with Sesame Street will recognize the likenesses of both Cookie Monster and The Count on the side of this well-tagged box truck, which I snapped a few photos of as it was stopped on Lafayette Street. The truck is the work of the COD Cru, a Bronx-based group of graffiti artists that’s been active since 1983! TC5 and KMS are two of the artists who left their tags on the truck. I wish I had been able to get a glimpse of the other side!
I got the other side of the truck!
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The title of Ed Ruscha’s The Old Tool & Die Building (2004) suggests that the industrial space pictured here — decorated with signage in a mix of altered, nonsensical Korean and archaic Mandarin characters, an unidentifiable corporate symbol, and graffiti — was once a place where machinists manufactured parts.
The Old Tool & Die Building is part of the Course of Empire series — a group of five paintings that revisit the subjects of Ruscha’s 1992 series Blue Collar. In those back and white canvases, the artist had pictured the industrial buildings once common to the American urban landscape. The newer paintings, rendered in color, capture old sites repurposed, abandoned, enlarged, or made obsolete
Ed Ruscha named the series after a group of paintings by the Hudson River School artist Thomas Cole (1801 – 1848). Cole’s The Course of Empire (1833 – 36) traces the transformation of an imagined civilization from an Edenic state close to nature, through the rise of culture, to a dominating Empire, and then on to decline and ruin. Although Ruscha’s coolly removed depictions do not editorialize on their subjects, like Cole’s works they chronicle the unrelenting developments and the inevitable cycles of human civilizations.
Photographed in The Whitney Museum in NYC.