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Twin Graffiti Artist Duo, that do large scale murals

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A Brief History of Andy Warhol | VOA Connect

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PUSH is a talented artist and designer rooted in the city of Los Angeles. With a creative sensibility developed from years as a muralist and graffiti artist with the MSK/AWR crew, he creates striking visual imagery on walls, canvas, wood, and paper. Part of the highly regarded Seventh Letter artist collective, his work is constantly evolving, pushing his own boundaries just like his contemporaries in skateboarding.

Described as "the thinking man's graffiti artist," PUSH's work straddles the line between refinement and disorder, building sequence with the use of colors and chaotic lines. While at first glance, PUSH's art may not immediately resonate with graffiti, yet on closer inspection, formative strokes and steady line-work present examples of his expertise.

As a self-taught painter and sculptor, the Los Angeles-based artist credits his early affinity for skateboarding and graffiti, mentioning fellow AWR/MSK member SABER as a key influencer to his aesthetics.

PUSH recently collaborated with Element Skateboards on a capsule collection. Consisting of T-shirts, vests, shorts, caps and skate decks, the collection transformed street wear staples into striking, mural-like pieces.

Push is a well-rounded artist keeping to tradition with dope hand styles, clean walls, excellent color and design, mixed with some great 3 dimensional pieces. When you think about a graffiti artist that is evolving in today's age of graffiti yet, keeping with tradition Push comes to mind.

One of PUSH's latest pieces most recognizable to skaters is the massive mural inside The Berrics. PUSH is a rising star in the art world who remains dedicated to the streets that made him.

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PUSH is a talented artist and designer rooted in the city of Los Angeles. With a creative sensibility developed from years as a muralist and graffiti artist with the MSK/AWR crew, he creates striking visual imagery on walls, canvas, wood, and paper.

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THE HUNDREDS X THE SEVENTH LETTER : SABER

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When Keith Haring arrived in New York in 1978, he found an active scene of young musicians and artists, including Kenny Scharf and Jean-Michel Basquiat, with whom Haring became fast friends. Perhaps more importantly, he found art moving out of galleries and into public life. New York at that time was a place of new trends like the rise of hip-hop, diverse club scenes, and graffiti art. Haring embodied the city's energy, tirelessly taking his art wherever he was, whether to a gallery, his apartment, playgrounds, or department stores. In many ways, Haring's use of popular imagery came from pop art's ambitions to bring popular culture into a critique of fine art. His approach to pop, however, was expansive and performative, akin to the conceptual strategies of the late 1970s in its aggressive use of art as liberating social activism. After Haring contracted the AIDS virus in 1988, he focused his outpouring of activism on the AIDS crisis. Less than two years later, Haring died of an AIDS-related illness.

Haring developed his trademark style working on the black surfaces used to cover up old advertising logos in the New York subway. Later, Haring painted on materials from hardware stores such as tarpaulin or muslin. Derived as much from figures in recent art history, like Pierre Alechinsky and Jean Dubuffet, as from cartooning, his drawings and paintings were often created in minutes. Haring would then move onto the next drawing, sometimes completing up to forty in a single day. These drawings were seen by thousands each day and the momentum of Haring's practice soon found him working in any medium that provided a proper context for his images or could hold a mark. Haring became a recognizable figure in New York, attaining somewhat of a celebrity status that drew much attention to his gallery shows, public projects, and merchandising.

Red Room, 1988, is monumental in size, transmitting Haring's public, muralist sensibility to canvas. The painting demonstrates the artist's iconic linear shapes, pulsing movement, and hierarchical arrangement. It also references Henri Matisse's famous 1908 painting Red Room. Like Matisse's work, Haring's style and design pervade the life of his figures and the environments they inhabit, and Red Room displays this in a dramatic way. The painting shows a woman at leisure, leaning back and relaxing. The scene, however, is not relaxed or calm, but instead seething with Haring's personal energy and enthusiasm.

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Learn about The Broad Collection artist Keith Haring. When Keith Haring arrived in New York in 1978, he found an active scene of young musicians and artists, including Kenny Scharf and Jean-Michel Basquiat, with whom Haring became fast friends. Perhaps more importantly, he found art moving out of galleries and into public life.

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Jean-Michel Basquiat was born in Brooklyn to Haitian and Puerto Rican parents in 1960, and left home as a teenager to live in Lower Manhattan, playing in a noise band, painting, and supporting himself with odd jobs. In the late 1970s, he and Al Diaz became known for their graffiti, a series of cryptic statements, such as "Playing Art with Daddy's Money" and "9 to 5 Clone," tagged SAMO. In 1980, after a group of artists from the punk and graffiti underground held the "Times Square Show," Basquiat's paintings began to attract attention from the art world.

In the 1981 article "The Radiant Child," which helped catapult Basquiat to fame, critic Rene Ricard wrote, "We are no longer collecting art we are buying individuals. This is no piece by Samo. This is a piece of Samo." This statement captures the market-driven ethos of the 1980s art boom that coincided with polarizing views played out in government and media, known as the culture wars. In this context, Basquiat was keenly aware of the racism frequently embedded in his reception, whether it took the form of positive or negative stereotypes. In his work, he integrated critique of an art world that both celebrated and tokenized him. Basquiat saw his own status in this small circle of collectors, dealers, and writers connected to an American history rife with exclusion, invisibility, and paternalism, and he often used his work to directly call out these injustices and hypocrisies.

Before his tragic death in 1988 at the age of twenty-seven, Basquiat expressed seemingly boundless creative energy, producing approximately a thousand paintings and two thousand drawings. Over the decades, the study of Basquiat's paintings and drawings has offered textured insights of the 1980s and, importantly, continued reflections on Black experience against an American and global backdrop of the white supremacist legacy of slavery and colonialism. At the same time, Basquiat's work celebrates histories of Black art, music, and poetry, as well as religious and everyday traditions of Black life.

Many of Basquiat's works have been likened to the improvisational and expansive compositions of jazz. Often themes accumulate through multiple references on the surface, emerging as patterns out of gestural brushstrokes, symbols, inventories, lists, and diagrams. Most images in Basquiat's works have double and triple meanings, some of which the artist discussed and others that he left undefined, remaining open to viewers' interpretations. Basquiat sought and enjoyed unlikely collisions of imagery and words, massive influxes of information and stimuli that recreated the experience of being in a world by turns exciting, inspiring, oppressive, and toxic.

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Learn about The Broad Collection artist Jean‐Michel Basquiat. See Basquiat's paintings in depth-only at The Broad in Los Angeles.

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Kenny Scharf's wall for Wynwood. Like a giant graffiti tag or throw-up, the piece reflects the impulse and speed of the artist working in the street, and his popular cartoon-like characters are instantly recognizable. Kenny moved to New York City in the late 1970s, and his work embodies the spirit of that time, a Golden Age that continued through the early 1980s, in which Pop, New Wave, graffiti and the downtown art scene were colliding. It was during this explosive period that he first learned to use spray paint, and to master this newfound medium he remembers bombing the length of Manhattan between his studio in PS1 Queens and his home in the East Village, leaving the avenues covered with his characters.

Like his contemporaries Keith Haring and Jean-Michel Basquiat, Kenny was inspired by graffiti's freedom and the direct connection street art gave him to people outside of the art world. "In the late 1970s it was a natural reaction for us to take it to the streets and the nightclubs and let loose and not take yourself too seriously because that is stifling!" Kenny's spirit and his belief that art should be appreciated for the experience rather than the price tag continue to inspire younger generations.

Kenny is also a master of customizing objects ranging from household appliances to Cadillac cars. So when Tony Goldman asked him to transform a vintage Airstream trailer for Wynwood, it was a natural extension of Kenny's work. Inside the trailer you are transported into a black-lit world, where ordinary objects-and even the possessions of the trailer's last inhabitant-are painted all around you in eye-popping Day-Glo colors. With the soundtrack playing, it's a time capsule from the artist's original Cosmic Cavern and the days of disco.

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Kenny Scharf's wall for Wynwood. Like a giant graffiti tag or throw-up, the piece reflects the impulse and speed of the artist working in the street, and his popular cartoon-like characters are instantly recognizable.

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Melbourne natives Dabs Myla are a dynamic duo who have been living and working in Los Angeles since 2009, and they absolutely love it. They say it feels like home. Warm colors of L.A. and its vibrant life had an impact on their style, so they welcomed the change. It was in 1995 that Dabs started painting graffiti, unlike Myla who has been painting with a brush most of her career. During art school, where they met while studying illustration, Dabs started using acrylic. Along with their love, a unique style was born, and that is when they both started using spray paint. As it turns out they liked their collaborative work better than the individual one. From that point on they have been working together. They only work solo when they paint letters.

Dabs Myla - mural - photo via powwowhawaii.com

Photorealistic Love

Inspired by graffiti, food, travel and their life together as a couple, their paintings depict Dabs' mischievous characters on Myla's photorealistic cityscapes. They say, with smiles on their faces, how in all their years together, not a day has passed that they've been separate. As they would say, truly - two peas in a pod, that is if peas were this creative, ingenious and flamboyant. The duo does all their work together, at a shared desk. And this is what brings them closer. When something happens, a spill on the painting, or an error - it's not a problem, they will fix it. They keep motivating each other, growing ideas, and never separating their work, in the means of who did what. It is one art piece, and they are clearly one love, so why separate. They keep pushing their creative boundaries, and the collaborative process is blooming with ideas.

Dabs and Myla say they are two peas in a pod

Dabs Myla - Before and Further (left) / Time and Space (right) - photo via dabsmyla.com

Changing Pop Culture

Their works include installations, murals, and paintings. They are also featured on famous clothing bradns, such as Vans collection 2016. The most ambitious exhibition yet was Before and Further, when Dabs and Myla transformed a 4,000 square foot factory property. Space was filled with their newest paintings, installations, sculptures, and furnishing, including hand-painted ceramics and custom-made light installations. This was more than an exhibition, it was an experience. In 2015 the duo reinvented the logo for MTV Movie Awards, symbolically claiming their place in pop culture history. In all of their art, not only do we get to witness the immense talent they both poses, but also a one of a kind consciousness two people can create and is not seen very often.

Their most ambitious exhibition is Before and Further

Dabs Myla - mural, Vernon building, L.A. - photo via latimes.com

Harmonious Duo

When working outside, on exteriors, they use bold colors, and heavy strokes, while their paintings are subtle, gentle and harmonious. No matter what they do, their shared love for narrative illustrations is definitely to brighten everybody's day. They imagine cityscapes inhabited by photorealistic drawings, with the most adorable faces. The impeccable drawings, filled with either paint or graffiti spray bring to life anything they set their minds to. Whether it's a hydrant, flower or a piece of furniture, it will bring up the warmest memories from your childhood and make you feel like a child again, and all that with their weirdly, joyfully precise lines and fiery colors.

Dabs and Myla live and work in Los Angeles, California.
Featured image: Dabs Myla - portrait, photo via arrestedmotion.com

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Melbourne natives Dabs Myla are a dynamic duo who have been living and working in Los Angeles since 2009, and they absolutely love it. They say it feels like home. Warm colors of L.A. and its vibrant life had an impact on their style, so they welcomed the change.

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While living in New York between 1983 and 1993, Ai was strongly influenced by the artists Marcel Duchamp and Jasper Johns. Profile of Marcel Duchamp in a Coat Hanger is a layered homage to both artists. Ai borrows two motifs from Duchamp-the readymade everyday object and the self-portrait of the artist in profile. He also makes reference to various works by Johns, who was similarly inspired by Duchamp.

In 2011, Ai's political activism, particularly his criticism of the Chinese government, led to his eighty-one-day imprisonment by Chinese authorities. S.A.C.R.E.D. is the first work Ai created in response to that imprisonment. These six dioramas document the most painful and intimate moments of his detainment, including the moment he was led into his cell, the periods of interrogation, and the daily activities of eating, sleeping, showering, and using the toilet, all under the watchful eyes of two guards.

The title connotes religious associations with ritual acts, sacrificial punishment, and perhaps even tomb burials. It is also an acronym. The letters stand for each diorama's subtitle-Supper, Accusers, Cleansing, Ritual, Entropy, Doubt. In addition to corresponding to the daily activities represented, these subtitles evoke the life of Christ and the Stations of the Cross. At the same time, the exterior of the cell is reminiscent of Minimalist sculpture, while what we see inside is the most minimal human condition.

This installation represents part of a series of eighty-one unique chests built from huali, the precious and highly desirable wood of the Chinese quince tree. The artist has cut four circular openings into each chest, transforming them from functional pieces of furniture into works of art. When the chests are viewed through the center from one end, the openings align to create a play of light and shadow that suggests the phases of the moon.

In Straight, Ai uses rebar recovered from the rubble of collapsed schoolhouses following the 2008 Sichuan earthquake. The artist had every piece of mangled rebar straightened through a laborious process. The large divide in the piece is meant to suggest both a fissure in the ground and a gulf in values. The massive work serves as a reminder of the repercussions of the earthquake and expresses the artist's concern over society's ability to start afresh "almost as if nothing had happened."

This sculpture is a map of China made of salvaged wood and built using traditional Chinese woodworking techniques. The work can be interpreted in a variety of ways. As a map of China, it symbolizes the political unity of a country made up of many different cultural and historical elements. The monumental scale of the work and the impossibility of viewing its complete outline from one perspective perhaps reflect the difficulty of grasping the full complexity and vastness of China.

Ai moved to New York in 1983, first living in Williamsburg, Brooklyn, before moving to Manhattan. In the decade before he returned to Beijing, he took photographs of his daily life. Some of his photographs document influential individuals, including the composer Tan Dun and the poet Allen Ginsberg. He also captured important events such as the Tompkins Square Park riots in 1988, scenes of political activism, and social problems such as homelessness. Other photographs reveal Ai's interest in the artists Jasper Johns, Marcel Duchamp, and Andy Warhol, as well as notable twentieth-century art movements, in particular Dadaism and Surrealism.

This series consists of Han dynasty vases dipped in industrial paints. The faded, richly patterned surfaces of the vases are concealed by the bright modern colors, but the vases retain their original forms. By leaving the vases intact and only altering their surfaces, Ai asks viewers to consider questions of authenticity and the value and meaning of an original artwork.

In He Xie, Ai metaphorically represents the restriction of individual expression and freedom of speech in Chinese society. He xie, literally "river crab," also sounds like the word for "harmonious," which is part of the Chinese Communist Party slogan "The realization of a harmonious society." He xie has thus come to refer to online censorship and the restriction of individual freedom of expression in Chinese society.

In November 2010, Chinese authorities announced that Ai's new studio in Shanghai would be demolished. In response, Ai invited guests via Twitter to a feast of ten thousand river crabs to protest the government's control of information. Placed under house arrest for his actions, he was unable to attend his own feast.

April 18-August 10, 2014

Ai Weiwei is one of China's most prolific and provocative contemporary artists. Featuring over forty works spanning more than twenty years, Ai Weiwei: According to What? explores universal topics of culture, history, politics, and tradition, showcasing the artist's remarkably interdisciplinary career as a photographer, sculptor, architect, and activist.

These works spotlight issues of freedom of expression, as well as individual and human rights both in China and globally. Many use minimal forms and methods, while others manipulate traditional furniture, ancient pottery, and daily objects in ways that question cultural values and challenge political authority.

Ai is best known for projects such as his collaboration with Herzog & de Meuron on the 2008 Beijing Olympic National Stadium, as well as his embrace of the Internet and social media as a platform for his activism. Despite his arrest and eighty-one-day detention in 2011, Ai has continued to create art that transcends dualities between East and West.

Ai Weiwei: According to What? is organized by the Mori Art Museum, Tokyo. It is curated by Mami Kataoka, Mori Art Museum Chief Curator, and the Brooklyn presentation is organized by Sharon Matt Atkins, Managing Curator of Exhibitions, Brooklyn Museum.

While living in New York between 1983 and 1993, Ai was strongly influenced by the artists Marcel Duchamp and Jasper Johns. Profile of Marcel Duchamp in a Coat Hanger is a layered homage to both artists. Ai borrows two motifs from Duchamp-the readymade everyday object and the self-portrait of the artist in profile. He also makes reference to various works by Johns, who was similarly inspired by Duchamp.

In 2011, Ai's political activism, particularly his criticism of the Chinese government, led to his eighty-one-day imprisonment by Chinese authorities. S.A.C.R.E.D. is the first work Ai created in response to that imprisonment. These six dioramas document the most painful and intimate moments of his detainment, including the moment he was led into his cell, the periods of interrogation, and the daily activities of eating, sleeping, showering, and using the toilet, all under the watchful eyes of two guards.

The title connotes religious associations with ritual acts, sacrificial punishment, and perhaps even tomb burials. It is also an acronym. The letters stand for each diorama's subtitle-Supper, Accusers, Cleansing, Ritual, Entropy, Doubt. In addition to corresponding to the daily activities represented, these subtitles evoke the life of Christ and the Stations of the Cross. At the same time, the exterior of the cell is reminiscent of Minimalist sculpture, while what we see inside is the most minimal human condition.

This installation represents part of a series of eighty-one unique chests built from huali, the precious and highly desirable wood of the Chinese quince tree. The artist has cut four circular openings into each chest, transforming them from functional pieces of furniture into works of art. When the chests are viewed through the center from one end, the openings align to create a play of light and shadow that suggests the phases of the moon.

In Straight, Ai uses rebar recovered from the rubble of collapsed schoolhouses following the 2008 Sichuan earthquake. The artist had every piece of mangled rebar straightened through a laborious process. The large divide in the piece is meant to suggest both a fissure in the ground and a gulf in values. The massive work serves as a reminder of the repercussions of the earthquake and expresses the artist's concern over society's ability to start afresh "almost as if nothing had happened."

This sculpture is a map of China made of salvaged wood and built using traditional Chinese woodworking techniques. The work can be interpreted in a variety of ways. As a map of China, it symbolizes the political unity of a country made up of many different cultural and historical elements. The monumental scale of the work and the impossibility of viewing its complete outline from one perspective perhaps reflect the difficulty of grasping the full complexity and vastness of China.

Ai moved to New York in 1983, first living in Williamsburg, Brooklyn, before moving to Manhattan. In the decade before he returned to Beijing, he took photographs of his daily life. Some of his photographs document influential individuals, including the composer Tan Dun and the poet Allen Ginsberg. He also captured important events such as the Tompkins Square Park riots in 1988, scenes of political activism, and social problems such as homelessness. Other photographs reveal Ai's interest in the artists Jasper Johns, Marcel Duchamp, and Andy Warhol, as well as notable twentieth-century art movements, in particular Dadaism and Surrealism.

This series consists of Han dynasty vases dipped in industrial paints. The faded, richly patterned surfaces of the vases are concealed by the bright modern colors, but the vases retain their original forms. By leaving the vases intact and only altering their surfaces, Ai asks viewers to consider questions of authenticity and the value and meaning of an original artwork.

In He Xie, Ai metaphorically represents the restriction of individual expression and freedom of speech in Chinese society. He xie, literally "river crab," also sounds like the word for "harmonious," which is part of the Chinese Communist Party slogan "The realization of a harmonious society." He xie has thus come to refer to online censorship and the restriction of individual freedom of expression in Chinese society.

In November 2010, Chinese authorities announced that Ai's new studio in Shanghai would be demolished. In response, Ai invited guests via Twitter to a feast of ten thousand river crabs to protest the government's control of information. Placed under house arrest for his actions, he was unable to attend his own feast.

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The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York City's second largest in physical size and holds an art collection with roughly 1.5 million works.

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Painter, born in 1949 in Los Angeles, California. Bojórquez draws his inspiration from his birthplace, where he grew up and still makes his home. He received formal art training at Guadalajara University of Art in Mexico and California State University and Chouinard Art Institute in Los Angeles. Bojórquez worked as a commercial artist in advertising and film before concentrating on painting.

Latino Art and Culture Bilingual Study Guide (Washington, D.C.: National Museum of American Art, Smithsonian Institution, 1996)

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Painter, born in 1949 in Los Angeles, California. Bojórquez draws his inspiration from his birthplace, where he grew up and still makes his home. He received formal art training at Guadalajara University of Art in Mexico and California State University and Chouinard Art Institute in Los Angeles.

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Takashi Murakami is one of the most visible and important Japanese artists working today. Murakami's influence on Japan rivals Andy Warhol's on the United States, and he is known for disseminating and promoting pop art strategies in ways unforeseen by American critics and artists. Unifying many strands of culture that are frequently considered in opposition-traditional Japanese painting with Western influences, the realm of fine art with otaku lifestyle (juvenile culture obsessed with toys, anime, and video games), and commercial retail spaces with museums and other public venues-Murakami's work is recognized for its ambition, polish, and fine execution.

Murakami's artistic practice is expansive, spilling into fashion, film, and other commercial areas, but his symbols and interests come from deeper impulses. For instance, Murakami's use of mushrooms in his work deals with both popular drug cultures and historical concerns. Curator Paul Schimmel, for one, locates the artist's fascination with mushrooms in a story his mother told him as a child about being born in a city "passed over" by the U.S. atomic bomb. (On the day of the drop, Murakami's hometown had too much cloud cover and was avoided as a target.) Murakami employs mushrooms in DOB in the Strange Forest (Blue DOB), 1999, in which the artist coyly positions his alter-ego, DOB, in a complex Japanese landscape that is turning to menace. DOB shows resistance, a gesture that clearly indicates Murakami's critique of culture rather than simply adding to its excesses. It is a powerful statement of how Murakami sees himself in regards to his Japanese culture. He is lost in the runaway madness of its history and decadence.

Social critique is even more pointed in Nurse Ko2 (Original rendering by Nishi-E-Da, modeling by BOME and Genpachi Tokaimura, advised by Masahiko Asano, full scale sculpture by Lucky-Wide Co., Ltd.), 2011. The work addresses bishoujo culture, which is roughly equivalent to "beautiful girl style," a concept encompassing many features of otaku. Bishoujo is an exaggerated, unrealistic, and fetishized version of the feminine, often based on boys' fantasies. Murakami's offering is part cartoon, part naive adolescent wish, part pornography. The conflation of the three mixes into an erotically charged, but silly sculptural resolution. The work is the projection of an overinflated boy mind, which Murakami remarks has contributed to a sterilized and displaced adolescence that hinders Japan.

My arms and legs rot off and though my blood rushes forth, the tranquility of my heart shall be prized above all. (Red blood, black blood, blood that is not blood), 2007, is part of a series of Murakami drawings featuring the portrait of Daruma, the sage, grand patriarch of Zen art and founder of Zen Buddhism. Daruma is famous for sitting in meditation for nine years without blinking, facing the Shaolin monastery. He lost his arms and legs due to severe atrophy, and even today is a symbol fortitude and diligence in Japan. In this work, Daruma is locked in a soft, meditative gaze, heavily mannered in black with bursts of colorful highlights. The painting is quintessential Murakami, mixing the visual devices of pop art with deeper cultural undercurrents. My arms and legs.... is both a view of Japanese history and a critique of the contemporary. Despite the opportunity for sensationalism that the Daruma story opens, Murakami takes a deliberate, sober approach, cropping out gory details and replacing them with the face alone. The emphasis of the work is on meditation, on the slowness of thought, virtues rarely promoted in a hyper-saturated world of instant information. With one foot in that image-saturated world, Murakami steps away from it.

Flower Matango (b), 2001-06, takes pop culture as its starting point. Matango is a 1963 Japanese movie about a group of people stranded on an island of monstrous mushrooms. Murakami imagines his recognizable smiling flowers growing and twisting through the gallery space. Like the mushrooms in Matango, the flowers multiply and take over, a blizzard of pop. For Murakami, popular imagery is an aggressive spore that can neither be contained nor stopped. A version of Flower Matango was exhibited at Versailles in France, its flowers allowed to spiral through Louis XIV's home in much the same way as the decorative flowers of the rococo overwhelm the wallpaper and ceilings of the palace.

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Learn about The Broad Collection artist Takashi Murakami. Takashi Murakami is one of the most visible and important Japanese artists working today. Murakami's influence on Japan rivals Andy Warhol's on the United States, and he is known for disseminating and promoting pop art strategies in ways unforeseen by American critics and artists.