American flag graffiti art on a fence / gate down on Ludlow Street, Lower East Side of New York City. A fitting image for the 4th of July / Independence Day holiday in the United States this week. This piece as been here for years. It's on the block between Hester and Canal streets, about 40 meters north from the corner where the French-Tunisian-Brazilian bar restaurant Les Enfants Terribles, where the Global Graphica massive usually get together for brunch and caipirinhas at the weekend.
More detail of the massive new roller-shutter graffiti-art mural on Orchard Street (at the corner of Delancey Street) in the Lower East Side, in New York City.
We love this very brand-spankin'-new fresh graffiti-mural cum street art on a roller-shutter at the southwest corner of Delancey and Orchard streets in the heart of Lower East Side (or LES).
Photography gear: Canon PowerShot SD 630 ELPH digital camera
Music on our iPod: Kruder & Dorfmeister - "The K&D Sessions"
Sneakers of the Day: Puma "Easy Rider"
Photography gear: Canon PowerShot SD 630 ELPH digital camera
Music on our iPod: Kruder & Dorfmeister - "The K&D Sessions"
Sneakers of the Day: Puma "Easy Rider"
Sweet collection of graphical, graffiti, art and guerilla-marketing stickers (including stickies for Alife, IRAK and A New York Thing) on Ludlow Street in the Lower East Side, New York City.
Broome Street Graff + Jon Benet Wheatpaste, Chinatown
The stretch of Broome Street between The Bowery and Chrystie Street in New York's Chinatown is one of the few remaining cobblestone lanes in the neighborhood, and it's home to a bunch of graffiti tags and wheatpaste street art. At the center of this illicit visual mash-up is a poster of Jon Benet Ramsey with the words "Stop Being Raped." (See the next four images for more detail.) Next to it is recent work by the artist WK Interact.
Recent paste-up work by Shepard Fairey on Kenmare (Delancey) Street on the Lower East Side of New York City. The girl with a hand-grenade makes for a striking image. The softer illustration style is a slight departure from stronger lines we're use to seeing in much of Fairey's early "Obey" work.