ArtDiction May/June 2019

Habitual. Art.

Murals & Fine Spray Paint Art

Volume 18 May/June 2019 www.artdictionmagazine.com

The Papermill Community of Artists offers affordable studio space, a 50-seat theater, and a gallery in a historic factory building in Kensington, Philadelphia.

www.thepapermillphiladelphia.com

ArtDiction is a platform for artists to display their work and a resource for the habitual art lover.

Staff

Devika A. Strother, Editor-in-Chief devika@artdictionmagazine.com Isabella Chow, Associate Editor bella@artdictionmagazine.com Phillip Utterback, Staff Writer phillip@artdictionmagazine.com David Frankel, Senior Account Executive dfrankel@webtv.net

Contributing Writers Jamwangi Andndash John Daniel Linda Turner

Devika Akeise Publishing assumes no responsibility for the opinions expressed by authors in this publication. Š2019 of Devika Akeise Publishing. All rights reserved. No portion of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without permission in writing from the publisher.

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FEATURES 14 Muralist Specialist Parris Stancell is an artist and muralist with works all around cities, including Philadelphia and Brooklyn. Read about his artistic journey and his journey through life.

26 Graffiti’s Influence on Society Throughout the years, graffiti has established itself as a cul tural yet aesthetic tradition. Controversial as it is, discover how it has found its place in today’s society.

30 Fine Spray Paint Art Fine spray paint artist Tyrone Webb has created works of art with his masterful use of spray paint. See examples of his work and find out what inspires him.

Cover photo courtesy of Tyrone Webb.

42 How Murals Benefit Communities Murals are an increasingly popular and aesthetically pleasing form of art in modern times. But they also bring added benefit to communities. Learn about those reasons here.

In Each Issue 5 small talk 6 bella’s books 7 news 9 music 13 exhibits 43 ad index

Photo courtesy of Parris Stancell.

©2019 by Devika Akeise Publishing

ArtDiction | 4| May/June 2019

small talk

©sandis sveicers

I

have always believed that some of the greatest pieces of art are created by artists who make their work accessible to everyone. Just look at the cities that are filled with murals—on buildings, concrete, and subways—along with other forms of public art.

In this issue we interviewed renowned Muralist Parris Stancell who has works that beautify some of our favorite cities.

We also interviewed Fine Spray Paint Artist, Tyrone Webb who opened up

about what inspires him creatively.

ArtDiction also explored other topics including the positive impact murals have on communities, and graffiti’s influence on pop culture. Philadelphia, being a city that is known for its murals, public art, and tagging is highlighted throughout this issue. We devoted this issue to galleries, art organizations, and artist in the city of Philadelphia—a city that share our love of art.

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bella’s books How Not to Die Alone Richard Roper G.P. Putnam’s Sons, May 2019 Andrew, the lead character in Richard Roper’s How Not to Die Alone, is presented as your typical single, middle-aged sad-sack...but with a twist: all of his workmates think he’s married with two kids, the result of a mix-up during his initial job interview that was never corrected. Andrew has what sounds like one of the worst jobs on the planet: he deals with the clean-up of homes in which older people have died without any known family or friends. This is mainly to determine whether or not the individual had any distant relatives or people in their lives that could take care of their end-of-life arrangements; a grim task considering the circumstances. Andrew, of course, can identify with these sob stories a tad too much and goes as far as attending every state-sponsored funeral so that the departed can

have at least one person to note their passing. But Andrew himself is setting up his life to be one of those same sob stories, and while he knows it, he doesn’t seem to quite be able to do anything about it. Convention dictates, then, that a love interest (aka Peggy) must be introduced into the story.

I will give Roper some points; Peggy is not the typical love interest. She has kids and is involved in a complicated, somewhat volatile relationship with the children’s father. Her life is messy in a way that makes her feel realistic, and not just a tired trope. But this is 2019, and I wish Roper had been able to find another catalyst for change in Andrew’s life besides a workplace romance. I think the rest of his story is strong enough to have taken things in a different direction.

As the book progresses, the reasons for Andrew’s emotional withdrawal from life are revealed, along with additional characters outside the scope of his work life,

THE BARNES COLLECTION barnesfoundation.org

ArtDiction | 6| May/June 2019

and those parts of the story are both heartbreaking and hilarious in turn. All of these characters deserved more development, and doing so could have added a depth and nuance to the book that I think it lacks. But, ultimately for me, it boils down to this: in this day and age, finding a way out of loneliness doesn’t always have to entail romantic relationships, and I think that if Roper had chosen to place more emphasis on that point, he could have turned his good book into a great one.

By Isabella Chow

news 97-Year-Old Grandpa Saves Village

by Painting Buildings with Colorful Art About 10 years ago, a then-86-yearold Huang Yung-fu faced a predicament. The Taiwanese government was threatening to demolish his village, as he was the last remaining resident, in order to build a modern apartment complex. He was offered money to leave his own and reside elsewhere, but Huang simply could not imagine leaving the only home he had ever known in Taiwan. So, he started painting.

Affectionately known as “Rainbow Grandpa,” Huang was born in China.

He fought in the Sino-Japanese War and World War II and fought for the Nationalist Party over Mao Zedong’s Communist government. When the Nationalists lost, he along with 2 million others fled to Taiwan. He was housed in a provisional village put together hastily for incoming members of the military and their families. What was meant to be a temporary solution eventually became home.

“When I came here, the village had 1,200 households and we’d all sit and talk like one big family,” Huang stated to BBC. “But then everyone moved away or passed away, and I became lonely.” With nowhere to go, he turned to art to ease his suffering.

First, he painted a small bird on his bungalow. Then cats, birds, and people Huang Yung-fu next to his artwork in the Rainbow Village in the Nantun district of Taiwan’s central Taichung. (AFP PHOTO / Sam Yeh).

that began flowing across the vacant buildings in the village were added.

Then, in 2010, a local university student stumbled upon the village and after hearing Huang’s story, vowed to help. He took photographs of the village and began a fundraising campaign and petition to save it from destruction.

The news quickly went viral and “Rainbow Grandpa” was born. His colorful village became a huge draw for tourists and it continues to bring over a million visitors each year. Most importantly, Huang gets to keep his home.

“The government has promised me they will keep this house and this village,” he said. “I was so happy and thankful.”

National Portrait Gallery Names Gwendolyn DuBois Shaw New Director of History, Research and Scholarship / Senior Historian The Smithsonian’s National Portrait Gallery has appointed Gwendolyn DuBois Shaw, undergraduate chair and associate professor of history of art at the University of Pennsylvania, as the museum’s new director of history, research and scholarship / senior historian. In her new role, Shaw will work with the History, Curatorial, and Audience Engagement departments to strengthen the museum’s scholarly programs and be a thought leader on the connections between portraiture, biography, and identity in America.

She is the first woman to hold this senior position at the National Portrait Gallery.

“I have long admired Gwendolyn’s scholarship and her particular focus on looking at contemporary issues through the lens of both history and portraiture,” said Kim Sajet, director of the National Portrait Gallery. “Her research has spanned chronologies from the 17th centuries through today, merging interests in fine arts with ArtDiction | 7 | May/June 2019

Gwendolyn DuBois Shaw

those of popular culture. I am looking forward to having Gwendolyn help us think in fresh ways about our nation’s history as we reinstall our galleries in conjunction with a major upgrade to our lighting systems, and I know she will introduce audiences to larger social, historical, economic and political topics of conversation and debate.”

Shaw is a current member of the PORTAL = Portraiture + Analysis advisory board, the museum’s scholarship and research arm; and in 2016 she served as the senior fellow and host scholar of the museum’s “Richardson Symposium: Racial Masquerade in American Art and Culture.” Recent books published by the Portrait Gallery feature her writing. For example, her essay “‘Interesting Characters by the Lines of Their Faces’: Moses Williams’s Profile Portrait Silhouettes of Native Americans” was written in 2018 for the exhibition catalogue “Blackout: Silhouettes Then and Now,” and she also penned “Portraiture in the Age of the Selfie,” the lead essay for the catalogue that accompanied the 2016 Outwin Boochever Portrait Competition.

Shaw received her doctorate in art history from Stanford University and has concentrated for more than 20 years on race, gender, sexuality, and class in the art of the United States,

news Latin America, and the Caribbean.

In 2000, she was appointed assistant professor of history of art and African and African American studies at Harvard University, and in 2005, she began teaching at the University of Pennsylvania. Since 2012, she has served as the chair of the undergraduate program in the History of Art Department.

Wong Ping is Now Represented

by Tanya Bonakdar Gallery Tanya Bonakdar Gallery, located in New York and Los Angeles, has added Wong Ping to its roster.

Currently, the subject of a solo exhibition at the Kunsthalle Basel in Switzerland, Wong will have his first show at the gallery in 2020.

He is also represented by Edouard Malingue Gallery in Hong Kong and Shanghai.

Many of Wong’s films carries the themes of sexuality and repression in modern-day China, and the roles that digital technology play in the formation of identity there.

His colorful animations and video installations typically involve absurdist narratives that reference Chinese mythology and politics. Some of these works will be shown at the Camden Arts Centre in London later this year.

Hauser & Wirth to Open Exhibition Space, Residency Program on Menorca’s Isla del Rey Beginning in 2020, Hauser & Wirth, which has nine locations around the world, will open a new 16,145-square-foot space on Menorca’s Isla del Rey in the Balearic Islands, off the coast of Spain. The new location, to be called Hauser & Wirth Menorca, will be open from April to October and reside in a former hospital that

Isla del Rey in the Port of Mahón, Menorca, Spain. Courtesy of Wikimedia Commons.

dates back to the 18th century.

The small island is in the harbor that leads to the town of Mahón that used to serve as a quarantine station. Mar Rescalvo, who is from Menorca, will serve as the director of the space.

Hauser & Wirth, in partnership with the local government and the foundation that manages the former hospital, will transform the buildings to include an exhibition space, a residency program for its artists, gardens, a store, and a cantina-style restaurant. Also, the gallery will focus on partnering with local nonprofits and schools for a year-round education initiative that will focus on teaching locals about contemporary art.

“This is a very cultured island but there is no art education in the curriculum there,” said Iwan Wirth, the president and cofounder of Hauser & Wirth in an interview. “If we want to engage with our audience we’re not just going to drop shows there— we want to have a dialogue.”

Wirth had begun working with the Paris-based Argentine architect Luis Laplace on his Menorca home three years ago when Luis Alejandre, the president of the board of the Fundación Hospital de la Isla del Rey, approached Wirth about the ArtDiction | 8| May/June 2019

possibility of bringing his gallery to the island.

“We didn’t necessarily need the space, but the project found us, and this was a hesitation that we couldn’t resist,” Wirth said. “It’s one of the most striking places that you will be able to experience contemporary art.”

Laplace will work with landscape designer Piet Oudolf to design the space, both of whom worked on the design of the gallery’s Somerset location, in the British countryside, which was opened in 2014. The Menorca gallery is also collaborating with local architects from the region as well, including Miquel Sintes, Minerva Sánchez, and Bià Garriga, and landscape architect Álvaro de la Rosa.

“We have the ambition to be among the very best,” Wirth said. “We love to push the boundaries of what people think galleries can do and what they cannot do. We feel that the social responsibility by increasing diversity and accessibility to leave the white cube has been one of our missions from day one.”

music Nеil Yоung – Tuѕсаlооѕа Tuscaloosa is аn 11-track live album frоm Nеil Young аnd Thе Strау Gаtоrѕ, rесоrdеd аt the Univеrѕitу оf Alаbаmа, Tuѕсаlооѕа оn Fеbruаrу 5, 1973. Thе Stray Gаtоrѕ backed Nеil оссаѕiоnаllу in thе ’70s аnd are Tim Drummоnd, Kеnnу Buttrеу, Jасk Nitzѕсhе, and Bеn Keith. Thе аlbum was produced bу Nеil Young and Elliоt Mаzеr аnd mixed by Jоhn Hаnlоn. It iѕ mastered bу Chris Bеllmаn at Bernie Grundmаn from thе original analog tapes.

Tuѕсаlооѕа fеаturеѕ livе vеrѕiоnѕ оf songs frоm Neil’s dеbut аlbumѕ, рluѕ сlаѕѕiс ѕоngѕ frоm twо of hiѕ biggеѕt selling albums: Aftеr Thе Gоldruѕh аnd Hаrvеѕt. Thе аlbum аlѕо features thе titlе track frоm thе livе album Timе Fades Away that would bе rеlеаѕеd lаtеr in 1973, and songs from Nеil’ѕ сlаѕѕiс аlbum Tоnight’ѕ The Night thаt wоuld nоt bе rеlеаѕеd until 1975.

“It’ѕ frоm thе реriоd right аrоund Hаrvеѕt аnd Tonight’s the Night,” Young told Rolling Stоnе. “Fоr mе, it’s еdgу. It’ѕ likе thоѕе mеllоw ѕоngѕ with аn еdgе. It’s rеаllу triрру tо be dоwn in Tuѕсаlооѕа, Alabama, and ѕinging thоѕе songs frоm Hаrvеѕt and the ѕоngѕ thаt wе wеrе doing fоr Time Fаdеѕ Awау before it came оut.

I fоund thiѕ thing аnd it hаd such a grеаt attitude to it. I just lоvеd the whоlе night, ѕо I рut that tоgеthеr with [еnginееr] Jоhn Hаnlоn.”

Shоnеn Knifе – Swееt Cаndу Power Since thеir fоrmаtiоn in Oѕаkа bасk in 1991, thе Shonen Knife trio – соntinuаllу led by guitаriѕt/vосаliѕt Nаоkо Yаmаnо – hаvе always had an еxubеrаnt еnеrgу. Kurt Cоbаin wаѕ a big fаn аnd еvеn interviewed thеm bасk in thе ’90ѕ, whiсh iѕ hоw mаnу diѕсоvеrеd the роwеr-рор grоuр.

Thоugh thе band hаvе a dеdiсаtеd following in thе Wеѕt, it fееlѕ that ѕеldоm the grоuр gеt thе mаinѕtrеаm accolades they dеѕеrvе.

Althоugh hаving fеаturеd оn the If I Were A Cаrреntеr compilation album in 1994 alongside Redd Krоѕѕ, Grаnt Lее Buffalo, and Sonic Youth (аnd their ѕtunning vеrѕiоn оf “Suреrѕtаr”) and the ѕubѕеquеnt uѕе оf their соntributiоn, “Tор of The Wоrld” in the Lindsay Lоhаn vehicle Thе Parent Trap, thеу’rе ѕtill viewed bу mаnу аѕ somewhat of a novelty act. This is surprising, given the band’s рrоlifiс bасk catalog аnd bеing something оf a “bаnd’ѕ band.”

Sweet Cаndу Pоwеr mау nоt change thаt аt аnу stage, but it showcases еvеrуthing thаt iѕ grеаt about thе

thrоugh thе sugary ѕwееt (nо рun intеndеd) jangle thе аlbum рrеѕеntѕ thrоughоut, but even thеn it’ѕ ѕtill thаt strong nоd to Thе Ramones many сritiсѕ hаvе аttеѕtеd is thеir hеаrt-оn-thеir-ѕlееvе influеnсе. “Iсе Cream Cооkiе Sandwiches” is a very playful, сhildlikе рор song, but thе mоrе casual liѕtеnеr mау fееl thаt the bаnd аrе more оf a gimmiсkу асt…whiсh iѕ the соnсеrn with Swееt Cаndу Power. If уоu were tо рlау the album to listeners who aren’t аwаrе оf thе рrоlifiс wоrk the grоuр have rеlеаѕеd, Shоnеn Knifе would ѕimрlу be written оff аѕ a novelty akin tо groups like Bаbуmеtаl.

Sweet Candy Pоwеr is a good album, аnd if you’re an aficionado оf the group it’s сеrtаinlу iѕ wоrth сhесking оut. If you’re introducing реорlе to thе grоuр’ѕ work, however, you might want to start with “Riding on the Rocket” from their 1992 album Let’s Knife instead.

Tyler, Thе Creator – IGOR

band аnd might inspire реорlе tо gо bасk аnd check thеir 15- аlbumstrong bасk саtаlоg.

Thе ореning track, “Party”, vеrу much ѕumѕ uр thе bаnd for casual liѕtеnеrѕ; a mix between Thе Rаmоnеѕ аnd ’60s girl-рор groups such as The Chаntеlѕ or Thе Ronettes. It’ѕ a twо-minutе blast thаt Shоnеn Knifе fаnѕ have соmе tо love, with their grasp of thе English language brоkеn but vеrу muсh a ѕесоndаrу соnѕidеrаtiоn tо thе music. But thаt’ѕ where ѕоmе оf thе trouble may lау: since they аrе ѕо gооd аt what they do, hаving аlmоѕt сrеаtеd the tеmрlаtе for Jараnеѕе роwеr-рор bаndѕ whо fоllоwеd, what marks it оut from ѕоmе of thеir реrhарѕ more defining еаrliеr wоrkѕ?

“My Indереndеnt Cоuntrу” cuts ArtDiction | 9 | May/June 2019

Tуlеr lеаnѕ even further into рѕусhеdеliс R&B аnd dеlivеrѕ аn аlbum whоѕе еxесutiоn саn’t match its аmbitiоn.

“I hаtе wаѕtеd potential,” ѕtаtеѕ соmеdiаn Jеrrоd Cаrmiсhаеl in a mid-ѕоng intеrludе between “Gone

Gоnе” аnd “Thank Yоu” on Tуlеr, The Crеаtоr’ѕ fifth ѕоlо аlbum. He’s

music talking аbоut fаilеd relationships, likе the one thаt hоvеrѕ оvеr mоѕt оf the album. Uttеrеd 75% оf thе way thrоugh IGOR, thоugh, Cаrmiсhаеl’ѕ wоrdѕ hit сlоѕеr tо home as a сritiсiѕm оf the аlbum itѕеlf.

Tуlеr’ѕ potential hаѕ bееn immеnѕе еvеr ѕinсе he еmеrgеd as blоg rар’ѕ аbаndоnеd ѕоn with a vоiсе that sounded like gаrgling thumbtacks; hiѕ nаturаl сhаriѕmа once mistaken аѕ mеrеlу an аbilitу tо рrоvоkе; hiѕ viѕiоn often imрrоbаblу аblе to оutѕtriр hiѕ аbilitiеѕ. In rесеnt years, thаt’ѕ оnlу intensified.

Whеrеаѕ consensus оn the three аlbumѕ that fоllоwеd hiѕ debut, Bаѕtаrd, rеmаinѕ divided (to рut it lightlу), 2017’s Flower Bоу wаѕ bоth hiѕ most dаring аnd best-received to dаtе. Whеn Tyler starting рlауing around with jаzzу chords on 2013’s Wоlf, thе rеѕultѕ were rarely transcendent, but уоu соuld ѕquint аnd imаginе thе рѕусhеdеliс gеmѕ thаt fеw years of development could potentially уiеld. Fоur years lаtеr, Flоwеr Bоу dеlivеrеd оn thаt viѕiоn.

Tуlеr’ѕ саrеful ѕtudу and еxесutiоn finаllу mаtсhеd the Rоу Ayers obsession hе’d bееn сhаѕing fоr thrее аlbumѕ, nаmеlу on standouts “See Yоu Agаin” and “Bоrеdоm.”

Once Tуlеr masters a vibe, he never lоѕеѕ it —“Who Dаt Bоу” аnd “I Ain’t Gоt Time” рrоvеd he could ѕtill start a mоѕh рit аt thе drор of a hаt уеаrѕ аftеr he made hiѕ nаmе оn dоing ѕо, but at this роint it ѕееmѕ inеvitаblе thаt оnсе a particular vibе iѕ finаllу mаѕtеrеd, Tуlеr’ѕ already lооking tо thе next оnе.

IGOR ѕеtѕ itѕ sights on a strange hуbrid that’s nеvеr ԛuitе bееn асhiеvеd (оr mауbе еvеn аttеmрtеd) by оnе раrtiсulаr artist аt one раrtiсulаr timе. Frоm a ѕаmрlе оf the “Bоund 2” ѕоurсе material, to ѕоmе vеrу Yееzuѕ-у beats, to dоminаnt “Strоngеr”

overtones оn “I Think,” to an actual Kаnуе guest vеrѕе, thеrе’ѕ a whole lоt of Kаnуе influence, but thе whole thing plays mоrе likе an albumlength mashup of Ye’s 20072013 discography thаn a rеvеrеnt reproduction of аnу one of his individuаl albums.

It’ѕ a wеird imagining оf luѕh, rеtrо R&B with jаggеd edges, рitсh-screwy voices, and an оvеrаll dedication to maximalism. If аnуоnе саn pull it off, it’ѕ Tуlеr, аnd he most likely will, еvеntuаllу. It might just tаkе him аnоthеr two аlbumѕ tо get there.

Mоmеntѕ оf blinding brilliаnсе аrеn’t fеw and far between оn IGOR; on thе соntrаrу, they’re еvеrуwhеrе, whiсh makes thе liѕtеning еxреriеnсе all thе more fruѕtrаting. As soon аѕ Tyler arrives аt ѕоmеthing аrrеѕting аnd оriginаl, hе рilеѕ on unnесеѕѕаrу layers, ѕееminglу inсараblе оf letting things brеаthе. It would work if he was a virtuoso muѕiсiаn сараblе of complementary intriсасiеѕ, but with Tуlеr’ѕ mаin muѕiсаl strength bеing hiѕ еаr for the unlikely-but-satisfying combo, hе goes аll-in far tоо оftеn.

It’s uѕuаllу immеnѕеlу satisfying to hеаr a ѕоng with segments thаt, when ѕераrаtеd, could mаkе perfectly good ѕоngѕ оn their оwn (see: “Sicko Mode”), but with IGOR, it’s more оf a criticism: mоѕt of thеѕе ѕоngѕ соntаin minimal mоmеntѕ that, if ѕubtlу tweaked fоr twо or three minutes on еnd, could bе muсh better songs thаn the оnеѕ thеу’rе раrt of. Whеthеr it’s one too mаnу mеlоdiеѕ bеing intrоduсеd оn “Running Out оf Timе,” thе kеу changes in “Puрреt” and “Gоnе, Gone,” thе grаting and pointless Kanye vеrѕе оn “Puppet,” thе сhаrming but аlѕо-mоѕtlу-роintlеѕѕ Playboi Cаrti verse on “Earfquake,” ArtDiction | 10| May/June 2019

оr, most еgrеgiоuѕlу, thе oppressive Mike Dеаn ѕуnthѕ stacked оn tор of оnе anоthеr аt the еnd оf thе otherwise brilliаnt “Nеw Mаgiс Wаnd,” IGOR iѕ аn inѕtаnсе of Tуlеr doing too muсh.

Jonas Brоthеrѕ – Hаррinеѕѕ Begins “Plеаѕе hоld whilе we gеt our ѕhit together,” Jое Jonas twееtеd nearly ѕix years аgо аftеr hе, Niсk, and Kevin саnсеlеd thеir 2013 tour dates and рut thе Jonas Brоthеrѕ’ muѕiс оn thе ѕhеlf. Thе hiаtuѕ wаѕ undеrѕtаndаblе considering thе brоthеrѕ wеrе now twentysomethings seeking new artistic dirесtiоn and, рossibly соming tо different conclusions. Perhaps it was necessary fоr thе brоthеrѕ tо tackle the trаnѕitiоn out оf teen pop ѕtаrdоm ѕераrаtеlу; a transition thаt also рrоvеd diffiсult аnd fruѕtrаting fоr соntеmроrаriеѕ Milеу Cуruѕ, Selena Gоmеz, and Demi Lоvаtо in the 2010ѕ.

After thе split, thе Jоnаѕ Brothers kерt a lower рrоfilе thаn thеir fellow Disney stars, thоugh thеу сеrtаinlу fоund ѕuссеѕѕ оn their оwn. Niсk rеасhеd the top 20 three timеѕ with his sensual R&B-tinged hitѕ “Chains”, “Jеаlоuѕ”, and “Close”.

In 2015, Joe formed dance-rock grоuр DNCE, whоѕе summer smash “Cake bу thе Oсеаn” wаѕ сеrtifiеd

music delivers the sweetness оf Cаrlу Rae Jepsen’s Emоtiоn аѕ Niсk tеndеrlу sings to hiѕ wifе, “You show mе ѕоmеthing I саn’t live withоut.” Thе аrеnа-rеаdу “Don’t Throw It Away” is thе kind оf hеаrtfеlt, bittеrѕwееt аnthеm thаt will hаvе уоu сrуing аnd dаnсing аt thе ѕаmе timе аѕ thе brothers fight tо ѕаvе a hurting rеlаtiоnѕhiр, реrhарѕ inѕрirеd bу their long hiаtuѕ.

4x рlаtinum. Mеаnwhilе, Kеvin remained thе quiеt Jonas, finding ѕuссеѕѕ in rеаl estate аnd app dеvеlорmеnt оutѕidе the spotlight.

Whilе thе three brothers grеw, mаrriеd, аnd further developed their individual idеntitiеѕ during their hiаtuѕ, thеir nеw аlbum titlе suggests that Happiness Begins with celebrating lifе together аѕ a fаmilу. On thеir firѕt studio album bасk tоgеthеr, the JoBros have rесарturеd the сhаrm thеу ооzеd a decade аgо аnd mаkе it fееl more natural than they еvеr did аѕ Diѕnеу ѕtаrѕ.

Happiness Begins is an арt titlе for thе ѕummеr-rеаdу album’s tоnе.

Whilе еаrlу uрbеаt ѕinglеѕ “Suсkеr” and “Cооl” hаvе аlrеаdу made rеѕресtаblе саѕеѕ for beach-party jams, thе trорiсаl grооvеѕ оn “Onlу Humаn” аnd “Evеrу Single Time” are infесtiоuѕ. Thе lyrical соntеnt оf love, dеѕirе, аnd рlеntу of dancing on thеѕе rеggае-inѕрirеd trасkѕ may nоt bе anything оriginаl, but the ѕinсеritу in performance аnd dеер dеvоtiоn to melody-crafting ensure they’ll mаkе реrfесt соmраniоnѕ with a frozen mаrgаritа and a gаmе оf bеасh volleyball.

Thоugh thе brothers trу on diffеrеnt pop ѕtуlingѕ асrоѕѕ the аlbum’ѕ trасkliѕt, Niсk аnd Jое’ѕ mеlоdiс vocal реrfоrmаnсеѕ аrе in реаk fоrm whеn backed bу luѕh, ‘80ѕ-inѕрirеd synthpop. Eаrlу bаllаd “I Believe”

Hеаrtfеlt lуriсѕ concerning restoration аnd loving rеlаtiоnѕhiрѕ соntinuе tо bе оnе оf the аlbum’ѕ strongest virtues. On lаtе-аlbum bаllаd “Hesitate”, Joe сhаnnеlѕ thе whispered intimасу of Thе xx аѕ hе sings a love letter tо his newlywed.

Whereas thе rеlаtiоnѕhiр-сеntеrеd ѕоngѕ of Jоnаѕ Brоthеrѕ’ раѕt lacked реrѕоnаl еmоtiоn, hеrе thеу сhаnnеl hоnеѕt life еxреriеnсе intо their performances, mаking Hаррinеѕѕ Begins a rеfrеѕhinglу intimаtе рор rесоrd.

Kiаnа Lеdé – Myself Kiana Lеdé’s EP, Myself, iѕ a luxuriоuѕ collection of bоld, bright, аnd buttеrу R&B sounds. Thеrе are ѕix trасkѕ tоtаl, соnѕiѕting оf four nеwlуrеlеаѕеd ѕоngѕ ѕаndwiсhеd bеtwееn fan fаvоritеѕ “Cаn I” and “EX.” Thе dуnаmiс EP also fеаturеѕ rарреr Offѕеt and асtrеѕѕ/асtiviѕt/ѕingеr Jеnifеr Lеwiѕ, аnd hitѕ diffеrеnt levels оf еmоtiоn аѕ it flоwѕ from ѕоng to song. One moment you’re ѕwiрing thrоugh Tindеr аnd bоррing tо “Cаn I,” then ѕuddеnlу you’re working оut the wеight оf your ѕtrugglеѕ аѕ Lеdé ѕingѕ thrоugh “Hеаvу.”

The EP ѕtаrtѕ оff with mоrе uрbеаt trасkѕ, fillеd with thоѕе kinds оf ѕоundѕ уоu саn jаm tо during thе pregame аnd аt thе main еvеnt.

Offѕеt’ѕ fеаturе оn “Bouncin” offers an еxсiting element tо the еlаѕtiс dаnсе track. Hiѕ рrеѕеnсе оn the ѕоng iѕ a compelling аdditiоn tо the ArtDiction | 11 | May/June 2019

еlесtriс EP, which has роtеntiаl tо аttrасt a widеr аudiеnсе to be wооеd bу Lеdé’ѕ charming ѕоund.

Hеr muѕiс рrоvеѕ thаt it’ѕ nоt a bаd thing tо trу to livе your lifе withоut looking back or оvеrthinking. From giving in to lust in “Can I,” tо tаking a step bасk frоm a rеlаtiоnѕhiр fоr grеаtеr ѕеlf-diѕсоvеrу in “Shawty,” аnd tо just feeling уоurѕеlf at thе function in “Bоunсin,” Lеdé ѕhоwѕ that she саn take one dау at a time.

These lighthearted tracks еxhibit thе ѕоngѕtrеѕѕ hаving fun in life аnd in her muѕiс.

Thеrе’ѕ a mood ѕhift in the second half оf Mуѕеlf, with thе lаѕt thrее tracks moving slower. Thеѕе ѕоngѕ ring аѕ deeper, ѕоulful tunеѕ that рrоvidе inѕight into thе raw еmоtiоnѕ that Ledé fееlѕ on a dау-tо-dау basis.

Frоm a соnfliсt fillеd relationship in “If You Hate Me,” tо Ledé’s struggle with аnxiеtу in “Hеаvу,” аnd to fеаr оf lоѕing a friеnd аftеr a failed rеlаtiоnѕhiр in “EX,” thеѕе tracks prove thаt Lеdé’ѕ muѕiс dоеѕn’t ѕtор аt fun, uрbеаt party tracks. She саn gеt rеаl.

The ѕоngѕtrеѕѕ iѕ proving hеrѕеlf as a ѕtrоng force in thе R&B ѕсеnе.

Mуѕеlf iѕ Ledé ореning up tо thе world, showing she’s nоt аfrаid tо bе vulnеrаblе and еmbrасе her fееlingѕ.

www.archenemyarts.com

philadelphia exhibits LYNDA BENGLIS May 3—June 28, 2019 Locks Gallery is exhibiting of works

by Lynda Benglis, the artist’s seventh solo show with the gallery. Throughout her career, Lynda Benglis has often taken a serial approach to her work, replicating a process to push her materials to the extremes of their formal potential. Her comfort in unexplored territory has led to an abandonment of traditional media and aesthetics, with the work often occupying an uncanny space between the grotesque and beautiful, between material and flesh. Celebrated for her ability to bring painterly fluidity to sculptural forms, this exhibition showcases three of Benglis’ sculptural styles: ceramic, paper and polyurethane.

Wynorrific Times: Roberto Lugo and Mat Tomezsko September 6, 2019—November 11, 2020 Wynorrific Times is a two-person that features new work by Roberto Lugo and Mat Tomezsko. The exhibition, at

Wexler Gallery, is a visual exploration of the social conditions and historical through-lines that make our contemporary world both terrible and beautiful.

Lugo and Tomezsko, both raised in Philadelphia, share a sensibility that is informed by graffiti and the urban environment of the city. Lugo’s works are described as multicultural mashups, European and Asian porcelain forms reimagined as vessels of representation for those historically absent

from such luxury items. His work balances the perceptions associated with porcelain and hip hop, combining seemingly incongruous cultures into a single tradition. Tomezsko similarly uses medium in a metaphorical way, incorporating found materials such as weekly coupons and asphalt into formal abstract compositions. The works appear like post-war and minimalist paintings, but contain layers of imagery and meaning that operate outside of the visual system and traditional narrative.

Though rooted in the aesthetic of their upbringing, their artwork looks forward as they infuse fresh ideas and new expression into their chosen disciplines.

Lugo and Tomezsko have maintained a collaborative partnership since first exhibiting together in 2013.

Roberto Lugo is an artist, ceramicist, activist, spoken-word poet, and educator. Lugo uses porcelain, a traditionally precious material, as his medium of choice, illuminating its aristocratic surface with imagery of poverty, inequality, and social and racial injustice. The hand-painted surfaces feature classic decorative patterns and motifs combined with elements of modern urban graffiti and portraits of individuals whose faces are historically underrepresented in the context of art history – people like Sojourner Truth, Dr. Cornel West, and The Notorious BIG, as well as Lugo’s family members and, very often, himself.

Mat Tomezsko is an artist, writer, and curator. He creates abstract paintings, public art installations, and community art projects based around people, language, and process.

His work is informed by mid-century formalism and conceptualism, incorporates everyday materials, and makes connections between various creative disciplines. Community participation and public engagement are important aspects of his practice. His project, 14 Movements: A Symphony In Color And Words, a mile-long temporary mural installed in downtown Philadelphia ArtDiction | 13 | May/June 2019

during the 2016 Democratic National Convention, was recognized by the Americans for the Arts Public Art Network Year in Review for outstanding public art.

The Art of Collage and Assemblage September 6, 2019—November 11, 2020

From Joseph Cornell’s curious found-object boxes to Jess’s fantastical “paste-ups,” discover the seemingly limitless ways that modern and contemporary artists have mixed materials to create something entirely new and surprising. Presented in conjunction with Souls Grown Deep: Artists of the African American South, the exhibition at the Philadelphia Museum of Art explores the rich breadth and history of assemblage and collage and features many self-taught artists who reinvented their chosen mediums.

Peace is a Haiku Song Parris Stancell & Joshua Sarantitis

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Muralist Specialist

P

arris Stancell is an artist that may be best known (in part) for his murals around the city of Philadelphia. As an artist from childhood age, his first memory of his potential as an artist occurred when he was 8 years old. He sent a drawing to an illustrator who commended him on his work, and his artistic talent continued to develop.

“When I was 13, my mother sent me to Fleisher Art Memorial every Saturday to keep me out of trouble,” he relates. “My parents had split up and I was drawn to the streets.

Unfortunately, it did not work.”

At the age of 19, Parris was drafted and did not come back to Philadelphia until 1979

where he once again attended Fliesher. “I developed a portfolio and applied to the Philadelphia College of Art, which is now University of the Arts. After my first year I dropped out.”

As an excellent draftsman, mural style art come easy to Parris and it’s what he loves to do. In 1991, Parris painted his first mural at a Salvation Army. “It was in the chapel; just a sky behind a cross. After that, I painted a mural at 7th and Jefferson that is now no longer there.”

Plenty of Parris’ murals can be seen all around Philadelphia, due to this collaboration with Mural Arts Philadelphia. “I applied for a position at Mural Arts in 1998. This opportunity was a full-time position teaching artist and [as a] muralist,” he says. “I consider

Parris Stancell

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myself fortunate to get the job. Lots of my friends wanted this job. I was in the right place at the right time.”

Although his art is a staple in cities like Philadelphia, Parris’ art is not something he necessarily tracks and adds to a personal portfolio. “Once I complete them, I like to divorce myself from them,” he says. “Once I went to a friend’s house and was surprised that she had one of my paintings. My first thought was how bad the painting was. (Yes, you do some good ones and some bad ones.) I have paintings all over, but I never kept up with who bought what. I just love to paint. If someone wants to buy one, I am eager to sell.”

Parris selects his art tools (e.g., paint, brushes) based on the type of art and surfaces he’s working on. “When painting murals, I used to love to draw out my mural with big fat Crayola crayons. I would

love the way the drawing would look on the wall—different colors making up a figure or whatever it was I was drawing.

Unfortunately, I can’t find them anymore.”

Parris is inspired by his own very personal experiences. “I am a recovering addict. I used for 27 years. I swam at the bottom of the barrel most of that time, so I had plenty to share, express, and lament about,” he shares. “Most of my murals are colorful, playful, and with a meaning much deeper than is seen at face value.

[They] have a political message as well as something for the children to be attracted to; yes, mostly, they are a very complicated mix of pain and pleasure. The pain of a well-kept secret by yours truly.” Parris is also inspired by other artists, African art, western art, abstract art, folk art children’s art, naivety, and sincerity.

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Healing Walls Parris Stancell

Honey, I Love Stina Aleah

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Healing Power of Music Parris Stancell

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Healing Power of Music Parris Stancell

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“Most of my murals are colorful, playful, and with a meaning much deeper than is seen at face value. [They] have a political message as well as something for the children to be attracted to.�

Freedom School Parris Stancell Solus Stina Aleah

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Daily Promise Parris Stancell

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Walk for a New Spring Parris Stancell

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Graffiti’s Influence on Society

By John Daniel

W

e are what we express. Our expressions of how we feel about developments around us are what defines our level of appreciativeness about a situation. Primitive humans used to carve out drawings on wood or stone surfaces to depict their experiences, with the culture considerably evolving in the modern-day era. Historical chronology surrounding graffiti can be traced back to as early as a century before the birth of Christ. Roman and Italian empires had evidence of graffito, which is the plural for graffiti.

Additionally, ancient graffiti was etched onto walls using sharp objects or colored pigments to display some message of importance; perhaps a political one. It goes without question though that even in the past, graffiti drawings and expressions were marred by controversy, and were sometimes penalized. Ranging from one empire to another, they exhibited love, intelligence through quotes, and even went as far as inscribing tales. Early forms of graffiti can still be found in temples and other monumental places and are a handy tool for reference, especially for historians.

Evolution of Graffiti Today’s graffiti had its beginnings in the 1940s, via a person named Edward Seymour who unknowingly invented spray paint. A continuation of street painting would later escalate nearly two decades later in the 1960s in Philadelphia, where an artist called Darryl McCay used to tag walls in his neighborhood. From that littleknown vicinity, it spread over to New York City in the 1970s and later to the entire world. The breakthrough for graffiti as a form of expression

can be attributed to Lee Quinones and his Fabulous Five’s crew in the mid-1970s, who painted an entire train using a concoction of a variety of pigments.

Barely a decade later in 1983, a landmark documentary called Style Wars, which resonated around the idea of graffiti, was produced.

The film portrays a group of young individuals struggling to creatively express themselves through graffiti while grappling with the constraints and limitations imposed by the laws of the State of New York. A truly monumental era for street art and expression, the decade was capped off with Style Wars garnering acclaimed accolades in many film awards, including the popular Grand Jury Prize at Sundance Film Festival. This catapulted graffiti into the realm of positive forms of expression…to some extent.

Renowned graffiti artist Keith Haring spent his life exploring the possibilities of expressing his feelings on subways in New York City. In his childhood and educational endeavors, he was always fascinated by art and even attended the Ivy School of Professional Art and the New York School of Visual Arts respectively during his teen years. However, Haring is remembered for using the city subways as his canvas and his signature images included the flying saucer and dancing figures. He was countlessly arrested and charged with vandalism but commuters in the city had started to take note. His star shone when he had a solo exhibition in Manhattan in 1981; in later years, his impressive work was shown overseas. His legacy continued to be cemented even after his death, with over 50 public drawings under his name living on to uphold the image of graffiti.

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Another artist who helped spur graffiti onto the wider public domain is Bansky. An English citizen hailing from Bristol, he exhibited graffiti in the form of dark humor and satirical inscriptions. His signature methodology of street art was stencil on walls along waterlines. His work has been adopted and appreciated all over the world, with critics particularly exuberant about the intelligence and depth of message in his drawings spanning from political to social concerns. Starting out in the early 1990s, his milestone achievement so far was when he was named Person of the Year for his significant contribution to modern day art at the 2014 Webby Awards.

Influence of Graffiti On Today’s Culture and Its Rise Into the Mainstream

In the early 1990s, a clothing line characterized by graffiti drawings and designs was born: the 123 Klan. With its major outlet based in France, the 123 Klan crew is famously known for making caps, t-shirts, and jackets with graffiti inscriptions on them. With time, they have incorporated graphic design into their products and are acclaimed as one of the modern-day promoters of positive graffiti.

Throughout the years, graffiti has established itself as a cultural yet aesthetic tradition. Controversial as it is, it has found its place in today’s society despite spirited efforts by anti-graffiti groups. The techniques have massively evolved over time, but the motive and attitude clearly haven’t.

Modern governments have had a particular inclination towards graffiti being a form of moral decay and negative connotation of social expression. Legislative laws have been drafted to deal with this negative activity but its influence has only grown wider. Taggers and painters have shifted from subways and walls to having their ideas showcased in museums for positive reasons in a majority of cities and countries around the world. Even the most stubborn of states have conceivably embraced graffiti as a positive form of expression and are commendably erecting museums, fashion stalls, and exhibitions to showcase graffiti as a form of talent.

No discussion of graffiti would be complete without mention of hip-hop and the infamous hip-hop culture in the ‘80s and ‘90s. The mainstream media in the 80s coined a peculiar narrative linking hip-hop to the emergence of street art at the time, with a view of commercialization of the latter.

Much like its famous slang, graffiti in hip-hop has taken root within the public understanding of graffiti and its inception, but its connection is tenuous at best. The true founders of graffiti, among them Bansky and Keith Haring, had no drive from hip-hop concepts whatsoever.

Thematic concerns such as social injustices, embezzlement of public funds, and mass killings can now be addressed using graffiti drawings and paintings. Mainstream media has also played a crucial part in promoting a positive sense of self-expression by featuring shows and artists who ply their trade in this realm. Graffiti artists are now widely acknowledged and awarded. This is no mean feat for an industry which has had the longest of fights with criticism.

Graffiti has made a far more positive impact than many ever believed it could.

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philaphotoarts.org ArtDiction | 29 | May/June 2019

Fine Spray

F

ine spray paint artist Tyrone Webb has created works of art with his masterful use of spray paint. After a 20-year career in computers, Tyrone now focuses on art that humbles him, increases his understanding of the world, and allows him to create every day.

AD: When did you become interested in art?

TW: As far back as I can remember,

I was artistic in some way. Whether it was drawing my way through high school each day or making some surreal pen drawing on a pizza box at a friend’s apartment, I enjoyed dazing off into something I was making. I always used a pencil or pen. I never thought to paint in any way. With the work that I do with spray paint, it was a simple start.

I woke up one morning about seven years ago and decided I was going to try making art with spray paint. It was a

Calm Calamity

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Paint Art

form of stress relief; therapeutic at best. Then I realized I could make what I was thinking of and I was getting good at it.

AD: Do you have an educational background in art or were you a natural artist without the “training?”

TW: Aside from the art classes you take in school throughout childhood, I never sought any formal

training in art. So I had a moment where I was deciding if I wanted to go to art school or not, and at that time computers were just starting to really take off. I had a concern that if I was driven to create in mediums that didn’t interest me and on subjects I didn’t like that I may lose my interest in being creative. I decided to go to school for computers and that led me to a career that lasted 20 years.

Tyrone Webb

AD: When did you begin the spray paint art on canvases?

TW: Traditional forms of spray paint art are generally done on glossy poster board, so that is where I started seven years ago. That wasn’t enough for me, so I started working on whiteboards (office whiteboards).

Canvas did not become an option for me until very recently when a fellow artist had a bunch of canvas that they wanted to get rid of and I found the price very attractive (free). I have learned to prep the canvas for spray paint, and I find that it is so much easier to frame than wood boards; cheaper, too.

AD: A lot of your art has a landscape feel. Is that what you prefer to spray paint?

TW: I am humbled by the vastness of the universe. If I spent a week creating a world that was as random and untethered to the physical limits we experience every day, it is entirely plausible that there are at least 50 worlds in the universe, if not more, that will look exactly like what I thought I created from nothing.

I am a world crafter. When you leave your home, there are views you see every day. A creek by an office building, a path you walk your dog on, a sunset as you cross over a bridge to the grocery store, etc. To a fresh pair of eyes, they would be amazing sights and worth a picture. I am creating everyday views on other worlds; the ho-hum, mundane stuff that you see every day on that world. To us, here on Earth, they are fantastic and full of imagination and fantasy.

AD: What are some art tools/supplies that you can’t live without?

TW: For obvious reasons (the toxic nature of some spray paints) I guess I can’t live without my mask. I must have poster board around at all times.

Some of my most magnificent cloud formations and skies are the product of a random tear of poster board and then using it to edge out the sky.

Aside from that, I would say music is a must.

AD: What inspires you creatively?

I have thought about this long and hard for many years and over time I have thought certain things or certain people were my inspiration. I have come to accept that at the core of my efforts to create there are 2 things that inspire me: hope and women. Because I did not go to art school or immerse myself in the culture of art my whole life, I have had to learn certain immutable truths of creating art on my own: 1. You will question yourself.

2. Other people will question you 3. You will be alone in your process.

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Day Cradled Tyrone Webb

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Last Stop Tyrone Webb

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4. You cannot decide what people will like and what they won’t.

Hope is why I take risks with the medium I have chosen. As an artist all you do is hope. “I hope that I can afford to keep doing this.” “I hope that I can find a space I can create the paintings I really want to paint in.” “I hope my daughter understands why I do what I do.” “I hope I sell a painting.” “I hope someone can help me get to where I cannot.” “I hope this wasn’t a bad idea.” “I hope this works.” We all have our hopes as artists and each piece of art we create is our shot in the dark. The more shots you take, the better the chance you’ll hit a target.

Women provide something I cannot fabricate or imagine myself. The feelings and emotions that are created by interaction with the opposite sex are as alien as the worlds I create. They can be intoxicating, infuriating, liberating, humbling invigorating…I could go on and on. A simple conversation with someone that has a point of view I can never have is like a form of alien intelligence. The Muse has been a part of human culture for as long as, well, as long as we have been around. There is a reason for that and I am quite certain that what I create is like laying out breadcrumbs for my muse.

AD: What is your process for painting?

TW: My process for painting is currently stunted. I started painting in a garage attached to the house 7 years ago. There I could paint really big things without issue.

Since then, I have driven 20 minutes to stand in a 10x10 storage container in all weather for an hour at a time just to satisfy my need to create. Now, I paint on a very small balcony attached to my apartment.

I am held back from the very beginning of my process. I am dependent on good weather; and by good, I mean snow or rain can’t be falling down. When it’s cold I can only paint for minutes at a time. It depends on how long it takes for the cans to get cold. The balcony is small, so I can only work on certain sizes; even when all I want to do is paint something large, I cannot. Aside from the physical restrictions, my process is so very simple. Out of [the] hundreds of paintings I have made with spray paint, I can count on one hand the ones that were actually planned. My process is pure improvisation. I lay down the canvas or wood board and I stare at it. I first decide, “Is this going to be dark or light?” Then I pick up a can and literally throw on some paint.

Then the weird part starts: I stare at it for a while. Trust me, its got to look weird seeing some guy on a balcony in a mask staring at a table for 5 minutes. It’s like a Rorschach test to me. I start to see something in the random spray on the board. I see a world in there and from that point on I spray layer after layer, day after day, to bring that world out. I am committed to completing that world before I move on to the next.

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Calm Calamity Tyrone Webb

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Secret Spot Tyrone Webb

Fantasy Garden of the Gods Tyrone Webb

How Murals Benefit Communities

By Jamwangi Andndash

S

troll around the streets of some iconic cities and you will be amazed by the beauty of their public art. Often presented as murals, public art depicts a huge variety of subjects. It inspires, entertains, evokes emotion and teaches at the same time.

People living in these cities have confessed that the murals and public art have an undeniable impact on the community. While more spontaneous art, such as graffiti, can inspire negative emotions, murals often motivate the viewers to engage in positive interaction while understanding more about the environment around them. This urban, classic, publicly displayed art has provided many benefits to people and communities everywhere.

statements beautifully by utilizing brushes and paint. The results of this expression are often beautiful and awe-inspiring. They also lead artists to profitable careers. As such, murals are a safe method through which pent-up creative energy can be released.

There can be a large portion of residents throughout any given city that are very creative.

They have a burning urge to express their point of view and communicate with society.

If left untended, these people can engage in socially unacceptable behavior so as to express themselves. Thankfully, creating murals is one way to unleash their creative power.

These people can explore subjects and make

Murals are an increasingly popular and aesthetically pleasing form of art in modern times. By covering buildings in urban areas, they add a splash of color to the environment.

They can also contain positive messages which communicate optimism to the community. As such, encourage mural art today for the benefit of our society tomorrow!

Residents of the same neighborhood often share the same views and opinions. These shared characteristics give them a common world-view; as such, these people feel like they have a lot in common with each other, even to the point where they create official groups and enlist displayed art and murals can act as a road to development for the younger members of the community.

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Page 29 Philadelphia Photo Arts Center philaphotoarts.org

Page C4 BEYOND THE STREETS www.beyondthestreets.com

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