Knit Me Again

Knitted street art in NYC. Photo courtesy of Divine Harvester, via Flickr.

I hadn’t heard much lately about Knitta Please, so I was super stoked to hear the crew of ‘guerilla’ knitters that has been tagging up city light poles, signs, benches, and whatever else they can get their stitches on since 2005, is still at it. The group ‘of ladies of all ages, nationalities, and… gender,’ headed up by Magda Sayeg, who lives in Texas, will be covering 69 parking meter poles on Brooklyn’s Montague Street with bright, hand-knit sleeves on May 13, as part of a public art project commissioned by the Montague Street Business Improvement District. Knitta Please did a similar installation in Paris in 2007.

Gothamist has a great interview with Sayeg, who talks about this project, plus some of her favorite past creations–including throwing a knitted pair of sneakers over a power line, tagging the pedestal of an organ grinder in Mexico City, and covering an entire New York phone booth in stitches. ‘I like to stay connected to street culture, and what it inspires,’ she says.

Rock on, Magda.

If you’re a knitter in New York and would like to get involved with the Montague project, Knitta Please wants you! Call the Montague Street Business Improvement District at 718-522-3649 or visit the Web site. You can also get more info about the installation or Knitta Please and see more images of their work on their Web site or Facebook group.

(Note: I originally wrote this post for bust.com, where it appeared first. Yep, still multitasking...)

Graffiti Queens

Photo courtesy McCaig-Welles Gallery.

Women have always been an imperative part of the urban art scene, with legends like Claw Money and Fafi making their mark on cities around the world. And although the man is making it more and more difficult for artists of both sexes to put up their work in public places, these ladies have still found ways to stay relevant and continue creating compelling art. Claw Money has her eponymous, ultra cool fashion line , Fafi did a collaboration with MAC Cosmetics, designing some insanely awesome, drool-worthy makeup bags, and Swoon, one of my all time favorites (not technically a graffiti writer but the consummate street artist), has launched her Swimming Cities expeditions and is represented by Deitch Projects. One of the best things about all this is that these artists have managed to break into the commercial world without selling out.

I’m really excited that the art and fashion worlds are starting to recognize truly talented graffiti writers, especially women, so I’m super stoked for this upcoming exhibition at McCaig-Welles Gallery in Brooklyn. Queens Arrive: International All Female Graffiti Artists Exhibition runs April 10-May 3. Artists featured include Fafi, Claw Money, Klor, and a whole lot more. The works of Martha Cooper, who photographed NYC subway graffiti during its heyday in the 1970s and 80s, also will be part of the exhibition.

(Note: I originally wrote this post for bust.com, where it appeared first. What can I say? I gotta multitask these days!)

Reasons to Love Swoon

Detail from a Swoon paste-up in Brooklyn. Photo courtesy of Trois Tetes, via Flickr.

The artist Swoon is having a benefit party for her next project on March 14, and you should go. Why? Because Swoon is awesome. Why is she awesome? Well...

Because of the fragility and toughness of her paste-ups that linger around the city, getting better as they disappear, decaying exquisitely and suggesting layers of stories with each crack and peel. I love that her art is both unabashedly feminine and unapologetically raw.

Because of this honest, straightforward interview she did with SWINDLE a few years ago. When I first read it, I was just learning about street artists and had developed a particular fascination with women making their mark on the city. Since then I have come back to it again and again, not only for background on Swoon but because it makes me think about context, living with art, and overcoming failure.

Because she's really, really nice. I happened to be in the middle of interviewing Swoon just when the Great T-Mobile Blackout of 2008 struck, and she was very laid back and went waaay out of her way to make sure we cobbled together answers to my questions through email, texting, and what spotty cell service we could latch onto. All this while she was floating down the Hudson on a raft (See #5)!

Because Swoon manages to straddle the line between street artist and gallery artist without selling out or compromising her work. Her gallery exhibitions are as contextual and meaningful as her paste-ups. See? And I already showed you this.

Because of her boat projects. Swoon first gathered a group of artists and creative-type friends in 2006, made some rafts, and floated 800 miles on the Mississippi River-- giving art workshops along the way. Then in 2008, she took the idea a step further with a fleet of floating sculptures that carried 40 artists down the Hudson River. They stopped to perform music and a play about the imagined origins of the boats, written by the multidisciplinary artist Lisa D’Amour. I love the comparison Swoon made between the boats and her more stationary artworks when I interviewed her last year: "They are hugely different kinds of artwork, but they function in the same way, showing up where you might not expect them and speaking to the landscape they are in as well as to the people who see them. I try to create artwork that lives in a daily setting and has relevance outside of art institutions and doesn’t depend on them for context."

Next, Swoon and crew will navigate the Adriatic Sea from Slovenia to Venice, Italy on three intricately crafted vessels.They plan to crash the Venice Biennale in June, and that's where you come in. They need your help raising money to make it happen, so go to this auction, dance a little, listen to some music, and bid on some art if you can.

INFO:

• What: Benefit Silent Auction
  
• When: Saturday, March 14th--- 7:30pm - 10pm, Dance Party 9pm - 3am
• Where: Secret Project Robot--- 210 Kent Avenue, Brooklyn, NY (at Metropolitan)