STREET BEAUTY
HANNAH JUDAH
Photography
You won’t pick up many art books whose genesis has involved standing on a broken three-legged chair, stacked-up shopping trolleys in an Aldi carpark, a rickety wheelbarrow in a field or an overturned freezer in a piss-stinking alleyway to create the perfect picture. In pursuit of the images in this book I’ve also sat on friends shoulders to shoot over walls, climbed rusty fire escapes and onto burnt-out cars, done a fair amount of trespassing and even picked up a bag of human excrement in a lorry carpark, all to get a clean shot. I only realised what the latter was half way through slinging it.
That sort of commitment is more true of reportage photography than art photography, and I guess this book is a hybrid of the two. My photography attempts to capture what I love about street art: the surprise of finding it in the most incongruous (or most appropriate) locations, and the immediacy of seeing great art suddenly appear in public places, unmediated by galleries, publishers or the art establishment. Street art often has a short shelf life; photographing it is the only way to conserve it, and I hope that the archive I’ve built is a useful contribution to the history of modern art’s most exciting offshoot.
That passing, transitory nature is part of the appeal of street art, of course. You might think that it’s better just to let certain pieces vanish, as the artists knew they would. But at least the images in this book have been often captured in the same guerrilla manner as many of the pieces were created. I started out taking random snaps on early iPhones, then borrowed a faulty ‘proper’ camera for a while, and over the years have slowly upgraded my equipment to the point where I sometimes find myself travelling to shoots with multiple flight cases of gear in tow, commissioned by a major international street art festival.
And then there’s the editing: the hours spent at home in Brighton, in front of a screen; the very opposite of how the pictures were often taken. The art in this book remains the artists’: but if my contribution is to capture their works’ context and impact, that often comes after dark, in front of a Mac.
Do I miss the days when I just slipped a phone into my pocket, and went outside? No, because they still happen.
It was the anarchic, unfiltered spirit of street art that drew me to it in the first place. As a kid I moved from London to Somerset and lived two fields away from the Glastonbury Festival site; back when it was lawless and wild and not the homogenised, commercial festival it is today. I spent a lot of time at underground raves, which at best skirted with the law, and at worst turned into riots. I also used to DJ at scuzzy clubs in Bristol. Those early, mainly musical influences made me love subversion and the disregard of convention in all art, and made me see that great art - musical or visual - and the intense, communal experience it creates can and should happen anywhere: not just in a concert hall or a gallery, but in a warehouse or on the wall of an abandoned factory.
Later, working in the film industry for 12 years alongside an Oscar winning producer and with some of the UK’s leading cinematographers, my focus shifted to the visual, as did working as an interior designer. All of these experiences, together with the fact that it can be a political voice, came together in my love of street art. All of this, and the fact that often it’s just beautiful for its own sake.
Over the years I’ve often been bugged about publishing an anthology, and my work has featured in books for Fin Dac, Upfest and Mr Cenz. When ATMA said he’d love to design and curate one with me, I knew the time was right to do my own.
This book is done, but street art doesn’t stop. I’m back out shooting again today: back to narrowly escaping a mugging by five guys on bikes in the East End of London; back to being driven on a crazy mission around Waterford in Ireland by a toothless big brute of an ex-con who thought nothing of mounting the curb and slamming on the brakes when I spotted a mural. My gallery is out here, with them. Hope yours is too.
Hannah Judah, Brighton 2024.
Design & Curation
I first met Hannah on the A12 in London in 2020, as she came to photograph my piece “Earth” (p 176). It was a scorching hot summer day, thousands of cars were passing by. London was glorious, loud, fresh and dirty at the same time.
We managed to sneak into a building opposite to get an impressive panoramic view of the mural, with East London as a background. I could sense she had a clear vision and she stepped into her own creative bubble to achieve exactly that. There I understood her dedication, her obsession to get THE shot.
Of course I knew her work, but it felt like I was meeting an old friend. We were sharing stories, chatting about our adventures, missions, and challenges as photographer and street artist, sharing the same life long passion from two different angles. And there we were, on the A12, barely able to hear each other with the motorway noise, having a laugh and eventually deciding to make a book together.
She has brilliantly shot so many murals in the last decade, travelling all over the UK and abroad to immortalise pieces that make the streets so eye-catching, poetic, intriguing, surprising, meaningful, in one word: beautiful.
Even if Hannah is actually, by default, creating a once-in-a-lifetime “archive” of street art, capturing pieces that make history, ephemeral artworks that one day will disappear or are no longer there, this book is definitely not about that. To start with, Hannah’s images are works of art in their own right.
In fact, this book is an artistic essay to capture street beauty, in its full glory, depth, globality, anchored in knowledge, references and HVI (High Visual Impact).
To serve this purpose, my curation aim is to take the viewer on a journey, page after page, travelling through the world of street art through Hannah’s eye, from tiny corners to large scale murals, underground artworks to public masterpieces, always creating a link in between photographies, sometimes obvious, sometimes cryptic (I trust a lot of readers will get these ones and have a little smile): a colour might simply make its way to the next page, a theme exploration might link a body of works, a cheeky geographical, even geopolitical dialogue might happen.
Sometimes pictures’ composition will lead the curation. Many more combinations await your awareness.
The curation aims to be as rich as the body of artworks and roster of artists captured here.
Street artists are givers, sometimes taking enormous risks to deliver their vision. Street Beauty, in return, is a dangerous display. Enjoy it.
ATMA, London 2024.
“ The Guardian ” Street Art Fest Grenoble Alpes Capuche, France
Tim Marschang
Graffiti and urban art have unmistakably become part of the urban identity of our cityscapes. You have probably noticed some fat scribbles or massive murals during your daily commute... that may even be the reason why you bought Street Beauty, and if not, I’m positive that it will inspire you to look around you the next time you’re in the streets.
The dissemination of this art form couldn’t have been possible without the internet and mobile apps like Flickr and Instagram, but these are just vessels that need to be filled with content or photographs of street art, in this case.
Street art photography is inherent to the movement of street art and graffiti and has grown along with it from a subculture to one of the most influential art forms to date. Everyone has a camera on their smartphones, making taking pictures easier than ever before. But street art photography is also an art form in itself; multi-faceted and built upon trust,
street knowledge, respect and social skills. Excellent street art photographers have become a part of graffiti crews and are welcomed by artists to document works in progress and completed murals. It takes a certain personality to become part of the inner circle of artists.
I met Hannah in person for the first time during Nuart Aberdeen ‘23 after connecting on Instagram for some time and we clicked immediately. Her spirit stood out and I loved hanging out with her, guarding her camera gear while she was up on the lift with artists or going out in the evening to shoot some long exposure night shots. Her patience and soft touch seem to open the door to artists resulting in amazing photography from portraits and works in progress to completed murals.
Tim Marschang, Co-Founder Street Art Cities, Antwerp, 2024.
Tina Zeigler
As a curator of urban art and a passionate advocate for the transformative power of street art, it is with great enthusiasm that I was invited to contribute to this beautiful publication. In the pages that follow, you will embark on a visual journey through bustling city streets and quiet alleyways, encountering a kaleidoscope of vibrant murals that have redefined public spaces. These ingeniously curated photographs capture the essence of a global movement, showcasing the evolution of street art from a rebellious form of expression to a celebrated medium that transcends boundaries.
The selection of artworks featured in Street Beauty is a testament to the exceptional talent of the artists who have risen to fame through their larger-than-life creations. Each mural tells a unique story, reflecting the diverse cultural narratives and artistic styles that have flourished in cities around the world.
From the intricate details of photorealistic portraits from SMUG to the bold strokes of abstract compositions from Li Hill, these murals represent the dynamic range of creativity within the street art community.
One of the most poignant reminders this book offers is the importance of archiving and preserving the ephemeral nature of street art.
These monumental artworks, often subject to the passage of time and the elements, serve as a fleeting testament to the creativity and social commentary of their creators. Through this collection, Hannah Judah and ATMA endeavour to immortalise these transient masterpieces, capturing their spirit for future generations to admire.
Tina Zeigler, Moniker, London 2024.
Hannah’s photos are just fabulous.
Norman Cook
They not only document the works but bring them to life with extraordinary detail, the spectacular skies behind them, each one has such a strong feel for its environment and interaction with its surroundings.
Showcasing the artworks in this new visually stimulating way shows not only the beauty of the art but the inspiration behind the artists’ creations.
Hannah’s photographs are works of art in themselves and simply put: she’s taken street art photography to the next level.
Street Beauty is a testament to that.
Norman Cook, Brighton 2024.
D*Face
I’d say of the one hundred plus murals I’ve painted in my time there’s optimistically probably about fifty percent of those that are still running - as in you can still see them out in the wild - and a good portion of those will most likely have caught the inevitable ‘tag’ or ’throw up’ on the lower, easy to reach areas. It’s an inevitable and often humbling part of the story when you work within the public domain and in many ways it is the ephemeral side to the work that makes it so special, like Pokemon, you have to catch them while you can. Public art is just that; for the public. Once it’s painted, adhered, pasted or installed, its future is out of anyone’s hands, it’s for the public, nature and progress to decide its future. It’s that democratic, freedom that has always made creating art within the public domain so interesting and exciting to me.
It’s that in-built ephemeral trait of urban art that makes images like the ones you’ll find within the pages of this book so necessary, without the likes of which, much of what artists like myself do within the streets would be condemned to the memories of a
few, not to mention I personally make the worst documenter of my own work, often having finished a wall, normally in a rush to catch a plane, travelled home, to then realise I didn’t get a decent final photo! Urban art has always been for the many, and through the democratisation of photography and the skill and passion of people like Hannah, it has never been more possible for there to truly exist a global art form without borders. Not to mention, it’s always nice to have your work remembered and entombed in print for the relics of time to discover, rediscover and who knows, maybe even inspired.
D*FACE, London 2024.
Lene Kirk
KIRK Gallery launched the “Out in the Open” mural project in 2014. The project commissioned high profile international artists to unlock the wonder and beauty of art on large scale murals for people who may not visit art galleries or museums. The series has had a great impact since inception and was the subject of a National Geographic documentary in 2022.
Hannah has covered “Out in the Open” and numerous KIRK Gallery shows involving renowned mural artists such as Herakut, Smug and Martin Whatson for Street Art United States over the years. This culminated in an exclusive interview with celebrated Dutch mural masters, Telmo Miel on the 10 year anniversary of their collaboration in March 2022.
Hannah’s own expertise in street art photography honours artists’ talent and she captures their creations with her own unique aesthetic. It’s been a joy to witness this aesthetic evolve since her street art photography journey began.
Hannah’s authenticity celebrates every artist and artwork sampled in Street Beauty. She has a flair for contextualising mural art by showcasing it to perfection; whether that happens to be against a humid urban expanse, a sweeping winter landscape or a tranquil garden framed by tropical flora. Changing seasons, daylight hours, weather patterns and a respect for mother nature play an important part in Hannah’s photography and contribute to the richness of her work.
What is wonderful about Street Beauty is that in addition to large scale murals, Hannah has also included beautiful images of smaller street art pieces. In a sense, Street Beauty is an extension of what KIRK Gallery is achieving, to bring some of the most beautiful works of public art to everyone.
Lene Kirk, KIRK Gallery, Aalborg 2024.
Sami Wakim
I first met Hannah in London in 2019 after having discovered her photography via social media. I was impressed by her creativity and aesthetic taste, not only that, we got on like a house on fire. In fact, I wish she’d move to the US!
Shortly after we met, I asked Hannah if she’d like to cover Nuart Aberdeen in Scotland and then Waterford Walls Festival in Ireland. Her answer was of course a resounding yes to both, and the series of photos that followed was breathtakingly beautiful.
Since then, Hannah has contributed to Street Art United States dozens of times covering work from the likes of Martín Ron, NEVERCREW, Telmo Miel, Pichiavo, Fintan Magee, Case Maclaim, Vhils and countless other ‘greats’ of the street art world.
Hannah has become a solid friend over the years and I value her as a human being as much as her work as a photographer.
Simply put, her work is phenomenal. Her technical excellence is a constant and the way she contextualises the murals and adds her unmistakable other-worldly magic makes Street Beauty a vibrant, visual treat and a must for anyone with a deep appreciation of street art.
Sami Wakim, Street Art United States, Boston 2024.
“ Girl Behind The Chimney ”
Art Fest Grenoble Alpes
BOBBY ROGUEONE “ Bubbles ” / Art Pistol Projects and Glasgow Mural Trail / Glasgow, Scotland / 2019
NUNO VIEGAS “ Glove x Banana Cap x Pixação by @17matrix SOW “ / Northern Paint Fest / Carlisle, UK / 2022
Southend
Southend,
“ Eyes Of The Sun ”
City Jam
VEKS VAN HILLIK “ Les Pieds Sur Terre ” / Street Art Fest Grenoble Alpes / Pont-De-Claix, France / 2019
TABBY
Balloon Dog ”
“
Antwerp, Belgium
2017
Beauty Behind A Mask ”
Curated by Tim Marschang
Upfest 75 Walls 75 Days Project
Bristol, UK
2021
Street Artists
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GOIN
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HELEN BUR
HELLO THE MUSHROOM
HERA
HOXXOH
I AM EELCO
IAN BERRY
IÑIGO SESMA
INKIE
INSANE 51 INTI
IOTA
IZZY IZVNE
JACQUELINE DE MONTAIGNE
JANISDEMAN
JIMMY C
JOACHIM LAMBRECHTS
JODY
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KING LISTY
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