Podcasts about spraycan art

Mike recalls memories from living in San Francisco and London in 1997. Topics discussed include: Oak Street house, “Allie”, Noah Hurwitz, @111MinnaGallery, latex pants, waxing, Skin Two, loft on 11th, @californiachoppers, the red bathroom, Patsy Cline songs, pre-sex routine, condoms, loft on Natoma, 6th Street, mirrored wall, cat attack, @dozegreen, basement studio, loft mural, Future Primitive Sound Session, Twist mural, Doze live painting, @bukueone, @dalek2020, abstract graffiti, collab with @obeygiant at Fashion Valley Yard, tunnel spot with @zanekingcade and @persue1, Paint Louis, “Duhkha”, @saberawr, Texas crew, @edrush, Eklectik, Kate O'Briens, Think skateboards, Fausto Vitello, The Chameleon, Kodik Joe, passed out drunk, Irish visitors, move to London, Wandsworth, Tom Brogan, Clapham Junction, A Clockwork Orange, working freelance, veggie sausages, kebab shops, fish and chips, corn on pizza, cheese scone and a coffee, Victoria Station, Spraycan Art, Westbourne Park/Ladbroke Grove, @mode2offical, @originalbando, Fume, Art Crimes (graffiti.org), Auto K spray paint, SER, undercoat and radiator paint, Camden Market, mixtapes, Cantelowes, Stockwell, Kennington Bowl, Meanwhile 2 (Royal Oak), Southbank, Bay Area uniform, London street fashion, Black Market Records, @metalheadzmusic, @mrgoldie, The Blue Note, @loxycylon, @fabioandgrooverider, @ltjbukem.

The artist Jose Reza, better known as Prime K2S, is credited with being a founder of Los Angeles stylized graffiti lettering. He gained international exposure when his work was featured in the book Spraycan Art, one of the earliest documentations of graffiti culture. He designed the cover for The Getty Research Institute's L.A. Liber Amicorum, otherwise known as The Getty Graffiti Black Book, which is housed in the Getty's rare manuscript collection. Today, he is also well known for both his public installations as well as his contemporary canvas work.   To learn more about Prime and his work, you can follow him here: @primek2s

https://wildstylethemovie.com/ (Wild Style website) https://www.imdb.com/title/tt0084904/ (Wild Style on IMDb ) Where to Watch: https://www.crackle.com/watch/6572 (Crackle) | https://www.amazon.com/gp/video/detail/amzn1.dv.gti.70b5f379-7139-2b71-e9fc-9cf4aec9284a (IMDb TV) https://www.thamesandhudsonusa.com/books/spraycan-art-softcover (Spraycan Art) book by Henry Chalfant and James Prigoff https://www.leequinones.com/ (LeeQuinones.com) https://open.spotify.com/album/2e1cehaMUqiMtNp5S4fSUJ (Wild Style soundtrack (25th anniversary edition)) on Spotify Hip Hop Movie Club is produced by your HHMC's: Boogie, JB and DynoWright! Theme music by Boogie.    Special thanks to Susan Berger, Towanda Edwards, and Alice Seneres.    Hit us up at hiphopmovieclub@gmail.com or on Facebook, Twitter and Instagram @hiphopmovieclub. You can also check us out at hiphopmovieclub.com.   The next episode of the Hip Hop Movie Club podcast drops in two weeks. Subscribe today in your favorite podcast app and you won't miss it!   Shout out to you listeners. Thanks for listening. 

Download the new KELAVISION App for free: Its the new home for all your street culture & music lifestyle needs. Get it now - iPhone: https://apps.apple.com/gb/app/kelavis... Android: https://play.google.com/store/apps/de... Today's Podcast we take a trip up north to Blackpool to chat to one of the cities earliest adopter's in Graffiti, SECA ONE. Having had to work and adapt to a transient world of Blackpool clientele over the years, Seca has honed his skills deep into the style of Graffiti realism like his life depended on it. And depended on it, he did. With humble beginnings in the early / original graffiti writing, Seca became caught up in a scene where art and music collided and got sucked into the Blackpool underworld and enduring years of drug addiction, mental illness, Schizophrenia and near death. Today we talk candidly about Graffiti & Spraycan Art, his journey and life lessons, the Blackpool and its surrounding scene's & a life of creating to survive. BE A PART OF THE SCENE & SIGN UP TO OUR MAILING LIST AND RECEIVE EXCLUSIVE NEWS, PODCASTS, LIVE SHOWS AND LIMITED ADDITION KILLA KELA CONTENT FIRST https://mailchi.mp/7482095b6593/killa... DONT FORGET TO SUBSCRIBE TO YOUR NUMBER ONE MUSIC IN STREET CULTURE PLATFORM OK! Documenting the Graffiti Artists of History past, before their critical acclaims and contributions to the urban arts. Disclaimer: This presentation is for documentation and educational purposes only. No hard drive copies, footage or records of any interviews are held by Killa Kela and once uploaded to the outlets listed below, those are the only records in existence. Any illegal activity discussed is spoken only by our guests within historical context, and is neither encouraged, supported or incited. Any views or opinions made by the guests who appear on this platform are of their own. BE A PART OF THE SCENE & SIGN UP TO OUR MAILING LIST AND RECEIVE EXCLUSIVE NEWS, PODCASTS, LIVE SHOWS AND LIMITED ADDITION KILLA KELA CONTENT FIRST https://mailchi.mp/7482095b6593/killa... Subscribe the Killa Kela Podcast @ iTunes: https://podcasts.apple.com/gb/podcast... Subscribe the Killa Kela Podcast @ Spotify: https://open.spotify.com/show/1OGLNJ6... Subscribe the Killa Kela Podcast @ Acast: https://play.acast.com/s/36212bdb-cce... All episodes are Transcribed here: https://killakelaofficial.blogspot.co... Support the Killa Kela Podcast by being a Podcast Patreon and receiving a mass of exclusives and bonus content https://www.patreon.com/killakelapodcast Killa Kela Weekly Livestream: Monday/Wednesday/Friday of every week. https://bandstream9.wixsite.com/killa... Killa Kela Monthly Live show - Special guests, live performances and profile pieces to a studio audience! : https://www.youtube.com/playlist?list... KILLA KELA Website: www.killakelaofficial.com Instagram: www.instagram.com/killakelaofficial/ Facebook: www.facebook.com/killakelaofficial Twitter: twitter.com/KillaKela

Episode 67. It’s a Team Effort featuring Reals We are honoured to be joined by Ironlak team member and Australian graffiti legend, Reals for the 67th instalment of Beers, Beats & The Biz. Back for his second appearance - but his first time solo - we talk some of Realsy’s latest walls before getting into a great conversation about his history, aliases and many achievements. From his recent contribution to the Spraycan Art commemoration wall and all the way back to his early days as a member of THC, we get a candid glimpse into the yards, cars and numerous walls this local genius created. This episode is a ripper, from his earliest influences growing up in Woodridge through to the impact of THC, the formation of TBK, Writers Anon, developing his own Ironlak colour and more stories than he’s shared anywhere else ever. We can never thank Reals enough for his time, conversation and years of dedication. Beers, Beats & The Biz is live now on iTunes, Soundcloud and Spotify: download, rate, subscribe, share and get amongst it.

I did not know Jim Prigoff well but was  delighted to be able to ask him a few  questions during the Urban Creativity  Conference in 2020, when he participated in  an on-line Q&A session together with Henry  Chalfant and Susan Farell. Jim answered candidly and made quite a lively impression in spite of his respectable age. We stayed in touch after the conference via  e-mail, discussing the origins and  trajectory of style writing and were  plannning an audio interview for my podcast. That was, sadly, never to be recorded but  he did humbly devote the time and effort to  type down some lenghty and super interesting  answers to some of the many questions I had. I was planning to try and get it published  as an article sometime down the line but  learning of Jims recent passing, it feels  more appropriate to make it available here,  for free and as a tribute to his work. This interview was conducted on the 20:th July 2020. I am very happy that I got the chance to  thank the man for producing works as  Spraycan Art. A book that left an immense imprint   on me, and so many other kids in the 80´ies with over 250 000  sold (racked?) units.  It was tremendously inspiring to discuss various  graffiti-related topics with a man of such  insights and passion for art and culture As a graffiti writer and chronicler: I salute you Mr Prigoff!    SGP: To graffiti-aficionados, I would claim  you became a household name in conjunction  with the release of the book Spraycan Art. By then, in 1987, you were 60 years of age. I would like to know what you did before  this. What was your childhood like and what was  your relation to art and expressions in the  public space before graffiti came along? Jim: My life history was that of a middle- class child growing up in suburban NY. There  was every expectation that I would go to  college, get a good job, and have a  successful business career. My mother took  me to Museums and in general I was a  visually oriented person. At age 40, I  became interested in tracking and  documenting murals and community art  particularly as it had political reference.  I began to see tags appearing and  photographed some. As the art form developed  and became more sophisticated, I  incorporated it into my mural search wanting  to give dignity and respect to this new  burgeoning form of art expression.   SGP:  What are your earliest meetings with, or  memories of (style writing)graffiti and what  did you make of it? Jim: I remember seeing BIO, BRIM, MED, T-KID  TAGS in the Bronx and then some of Keith  Haring’s characters in the early 80’s. A  Samo here and a Sane there. Going to  Freedom’s tunnel on the west side. Tracking  Lee, Vulcan, Daze, Crash, Blast, Phase 2,  Tracy and so many others.   SGP: How did you go about approaching it and  learning more about it? Jim: In the early eighties I began to meet  some of the writers, particularly on the  west coast when I moved in 1981. The TMF  crew, TDK crew and TWS, writers that I am  still in touch with to this day. Also, many  of the writers in LA like Slick, Hex, Chaz,  Risk etc.   As the writing moved from tags to pieces, I  recognized   the skill involved and became  interested in following its development as  well as to give respect and dignity to those  creating the art. I watched the writers creating their pieces,  talked to      them about the culture to  understand their motivation, creativity, and how it was becoming such an  important part of their lives. I remember  inviting the TMF crew to my home in SF. to  do an in-depth interview with them.   SGP: When did you first cross paths with  Henry Chalfant and how did you come to work  on the book together? Jim: Tony Silver came to see me when he was  working on Style Wars, hoping I would have  some ideas for fund raising to help finance  the film. He mentioned his film partner,  Henry Chalfant and suggested I should meet  him when I was next in NYC. When I decided  to do a book of how the art came above  ground from the NY City subway system, began  to appear on walls and handball courts and  then move across the country, I wrote and  invited Henry to join me. His reply was “My  brain is Graffitied out. But let’s do it”.   SGP: We recently spoke about the process of  selecting what works and cities that were  featured in the final product (Listen to the  snippet published in this post) Could you speak a bit about the response and  critique the book received and any tangible  proof of its impact on subsequent  travels/interactions the coming years? The first trip to Sweden for example. Jim:The book received an instant positive  response world-wide. It was voted one of the  50 best books for layout and design in  Britain in 1987. There were many newspaper  reviews and received commendation in a NY.  Public Library list. Henry was already  recognized internationally and with the  publishing of Spraycan Art, I became very  visible and invited to speak in venues  around the world.   SGP: Did you at any point feel a  responsibility in regards to the amount of criminal  damage/defacement that the book inspired? And, without  rehashing the old "Art or  Crime" debate; how big a part of graffiti do  you think the illicit nature of it is/contra  the artistic aspect? This could be expanded into a discussion of what  happens when graffiti is brought on to  canvas and the transition into the field of  fine art and museums, certainly. Jim: My chosen role in the movement was that  of a photo documenter to preserve the images  which often disappeared rapidly, to present  the art form to as large an audience as was  possible and to be its advocate. Also, to  help understand its social context within a  capitalist society. There is no question I  played a contributing part in the larger  picture/puzzle. People are welcome to  ascribe whatever they want as to my  influence because almost all of the feedback  has been very positive. Kids I didn’t even  know have told me I saved their lives as  they left the gang culture and moved to  Graff. Many of their friends left behind  were R.I.P. Graffiti moving to Museums and  fine art is partially a result of writers  getting older, gaining attention, needing to  support families etc. But that is just one  of the many facets in an ever far reaching  development.   SGP: With the spreading of style writing now  having reached most corners of the world. What are your impressions on how it has  evolved in respective geographical areas. I.e I see tendencies of simply imitating  classic NY Subway Graffiti, with western  letters/words and the same old styles and  aesthetics in all parts of the world.  It has its charm I suppose but can  also feel shallow and bleak somehow. Are there any scenes where you think an  exciting adaption and furthering of the  artform has taken place? Jim: This question is complex and better  answered by the artists themselves. There  were so many ways that writers chose to  develop style. First, many just copied from  the books or had mentors who taught them  style. But as time went on, writer explored  new imagery and style often became regional.      SGP: Having dedicated such a large part of  your life to chronicling and collecting  graffiti. Why has this movement been so  important to you, and perhaps any guesses on  the attraction and meaning it has had to so  many? In short; what is so great about  graffiti? Jim: Graffiti documentation has been part of  a much larger interest in tracking painted  murals, particularly as they related to  community issues, political attitudes and  their influence in public visual life. For  me it was a way to combine an interest in  photography with my political values and  then to share my point of view with a larger  audience. In addition, it was an adventure,  a treasure hunt, as well as a challenge and  an opportunity to learn about different  cultures as well as interacting with youth.   SGP: Our paths crossed recently at an  international conference on graffiti and  other expressions in the public space. What  started as kids scribbling has now not only  spawned a worldwide art movement (or is it  an extreme sport or something else?) but a  whole community of scholars, chroniclers and  researchers who analyze and try to  understand and explain graffiti. I often times, as an amateur researcher get  lost in talking and thinking more about  graffiti than actually painting, forgetting  why I love it so much until I get to a wall  and apply aerosol paint on it. What do you think are the pros and cons of  the theoretical, philosophical and academic  movement around this phenomenon? As one of the debates at the conference were  about; Is it even possible and fruitful at  all trying to frame and explain graffiti  without ever having practised it?  ...and on the other side of that coin. Are  the many ex-practitioners in the academic  word inclined to be biased when indulging in  and publishing research on it? Does graffiti need to be confined and  understood by outsiders? Jim: Over the many centuries, art took many  forms, shapes and context. Scholars studied  each period from ever conceivable point of  view. So why not Graffiti which is clearly  the most important art form developed in the  last 40 years? I presume most of the  scholarly work over the years was done by  people who never painted themselves. Surely,  interview the artists to get some clarity,  but the answers will be wide ranged based on  the individual, yet often have a similar  thread.   SGP:What are your hopes or expectations on  the future of graffiti? In a society with an  inclination leaning more towards a fully  draconian and surveilled society. Is  graffiti doomed to disappear or could  it  rather a productive factor such as combating  graffiti has been historically? Graffiti on  trains saw a style renaissance of sorts when  the possible times to stand in a yard shrunk  remarkably. Giving birth to new styles. Jim: I don’t really have “hopes or  expectations” The art form will continue to  develop in many different directions. It is  like a tree with branches emerging in many  directions. Graffiti in one form or another  has been a part of society since the  beginning of human life. Probably, it will  continue in some form in perpetuity.   Paz,   Jim   Photo taken from the book Spraycan Art. Audio taken from the https://www.urbancreativity.org/ 2020 conference.

Dans la catégorie des réalisateurs ⏤ car vous l'aurez remarqué, je replay des réalisateurs en ce moment ⏤ il y a aussi ceux qui sont moins visibles.  Ceux qui créent des films d'habillage, des courts-métrages de commande pour la télévision, des films informatifs très courts pour les réseaux sociaux. Ces réalisateurs-là sont moins mis en lumière, mais ils ont eux aussi plein de choses à raconter.  En tout cas, Samuel Burkardt n'est pas avare d'anecdotes croustillantes sur les métiers de la production audiovisuelle, pour notre plus grand bonheur. [Première diffusion le 19 février 2018 : S01 E03] Suivez le podcast sur Instagram  Il y aussi un Patreon, permettant d'aider le concepteur du podcast Suivre le fil 00:00:40 Son parcours00:35:50 Sa façon de travailler00:56:00 Sa stratégie de communication00:59:35 Ses inspirations01:04:35 Ses aspirations Références Des livres inspirants sur le street art : Spraycan Art (qui est le vrai livre dont Samuel parle) ou Subway Art (celui avec Martha Cooper)Soirées Théma sur Arte La fameuse tablette graphique de l'époque Les Minikeums3foisPlus et les IdiomaniacsSecrets d'info Le 123 Klan De l'inspiration avec Behance et Netvibes Les Monty PythonTom Sharpe (Mêlée ouverte au Zoulouland)Jacques Tati Où trouver Samuel Burkardt Sur son site internet Son instagram Sur Vimeo A propos de l'animateur Je suis Alexandre Soubrier, réalisateur de films graphiques. Vous pouvez me trouver sur twitter, facebook, instagram, vimeo. J'ai même un site sur lequel je poste quelques réalisations.  Le court extrait de musique vient du magnifique album de Wax Taylor "Tales of Forgotten Melodies".

Giant's interview with Dave Persué, a fine artist based in San Diego, California. Recorded in their studio in Miramar on Monday, October 23, 2019. Topics discussed: Per-Sway, growing up in San Diego, Star Wars, sports, getting forced outside to play, drawing, Nikol Schattenstein, William Randolf Hearst, inspirational mother and grandmother, absent father, soccer, discovering alternative music (Visage, Roxy Music, Ultravox, Adam Ant, Duran Duran), Morrisey-style, electric bass, high school bands, discovering graffiti and rap music in 1988, influential older sister, began writing graffiti in 1988, Xpek, Wesk, hanging with crews, Boone’s Farm, experiments with hallucinogens, Acid Mike, Subway Art and Spraycan Art, bombing, Ken Block, DC companies, Mike Vallely, Tony Magnusson, Mike Ternasky, full time graphics work, rubylith, Circa, contracts, designing shoes for Osiris in the 1990s, skateboarding, eating concrete, basketball, graffiti friends, 1.5hr commute, living close to your office, off-site design agencies, corporate paperwork, meeting each other in 1993, first time on E, Olé Madrid, street racing in 1991, mid-11sec 1/4 mile Honda CRX, cops ending parties, San Diego Car Clubs, Tesla drags, El Niño, Alphanumeric, Bunny Kitty is born in 2001, Tiny Shits blackbook/zine, lettering styles, Quasar, Wane COD, Writers Bench, Cey Adams, Instagram community, working behind the scenes, transitioning from commercial to fine art, PJ, Brisk, the Bunny Kitty book/collaborating with mom, Alzheimer’s, maniac kid, shock therapy, minor electrocutions, moving to NYC in 2014, studio practice, Wet Paint Shanghai, 1xRUN, the poster business, Alli, Stella, low overhead, origin of the Wet Paint project, collaborations, Wet Paint Miami, The Museum of Graffiti, Art Basel, getting arrested with Rime and Gorey, Drugs TVC, bold vs. sly, Freeze Means Run, getting kicked out of the Judah Tunnel, advantages of being big, the magic of wall writing, years of graffiti collaborations, sketch vs. freestyle, Stick Up Kids, touring Europe, “European-style” graffiti productions, TAT, FC, FBA, BA, Evan Hecox, playing music/jamming with friends, long walks, San Diego culture, sharing a studio space in Miramar. @persue1 @wearewetpaint @bunnykitty bunnykitty.com davepersue.com

Comment y arriver même sans faire d'études spécifiques ? Il n’est pas évident de trouver sa voie surtout lorsqu’on n’est pas guidé. Et c’est un peu l’objet de ce podcast : comment se frayer un chemin dans le vaste champ des possibles ? Comment être sûr que celui qu’on a choisi est bien le bon ? Il n’y a pas de réponses toute faite et elle est différente pour chaque personne. Parfois les voies classiques s’imposent, et parfois rien. Juste les copains, l’environnement, les opportunités. Samuel Burkardt, l’invité de ce troisième épisode, est de ceux-là. Son parcours atypique est extraordinairement encourageant pour tous ceux qui se demandent si les études supérieures sont vraiment nécessaires, et pour tous ceux qui n’y auront jamais accès. Les rencontres l’ont construit, son talent a fait le reste. Ecoutez donc comment un chemin aussi tortueux peut devenir une force. Suivre le fil 00:00:40 Son parcours 00:35:50 Sa façon de travailler 00:56:00 Sa stratégie de communication 00:59:35 Ses inspirations 01:04:35 Ses aspirations Références Des livres inspirants sur le street art : Spraycan Art (qui est le vrai livre dont Samuel parle) ou Subway Art(celui avec Martha Cooper) Soirées Théma sur Arte La fameuse tablette graphique de l'époque Les Minikeums 3foisPlus et les Idiomaniacs Secrets d'info Le 123 Klan De l'inspiration avec Behance et Netvibes Les Monty Python Tom Sharpe (Mêlée ouverte au Zoulouland) Jacques Tati Où trouver Samuel Burkardt Sur son site internet Son instagram Sur Vimeo A propos de l'animateur Je suis Alexandre Soubrier, réalisateur de films graphiques. Vous pouvez me trouver sur twitter, facebook, instagram, vimeo. J'ai même un site sur lequel je poste quelques réalisations. Le court extrait de musique vient du magnifique album de Wax Taylor "Tales of Forgotten Melodies".

KQED Art School presents rarely-seen photos of San Francisco Bay Area graffiti in the 1980s captured by photographer Jim Prigoff, co-author of the seminal book on early graffiti "Spraycan Art". Artist Neon describes the styles, spots, and writers that had an early influence on the Bay Area graffiti scene. See more art vids at http://www.KQED.org/ArtSchool.