Fresh New York City work by A.S.V.P.: “Future Cop” wheat-paste street art on a lamp post in downtown Manhattan.
We like the the look of this hip-hop imagery featuring Theophilus London and Michael Williams in this Bushmills billboard ad in SoHo, in New York City.
Logo Tourist is a website by an artist who uses well-known logos to create graphic depictions of famous Parisian tourist landmarks. Full of awesome.
If you’re a huge European soccer (“football”) fan, like we are here at Global Graphica, then this month witnesses a rare series of matches between arguably two of the world’s best football clubs, both from Spain: Real Madrid CF and Barcelona FC.
Due to their successes this season in three simultaneous club league and tournament competitions, the two clubs are facing each other four times this month. One final regular season match in LA Liga, the Spanish League, plus a meeting as the finalists in Spain’s Copa del Rey tournament (a.k.a., the Spanish Cup), and two meetings, one home and one away, against each other in the European Champions League. The last is the biggest prize of all.
Ahead of the Copa del Rey final today in Valencia, Spain, Adidas has produced a commercial capitalizing on the intense rivalry between the two clubs.
The candy-color POPS sign in front of its heladeria at a road stop in rural Costa Rica. POPS is a chain of fast-food ice cream restaurants in Central America.
The capital city of Costa Rica doesn’t have much of a high-rise skyline to speak of. But one unmissable architectural landmark on San Jose’s urban landscape is a massive brutalist skyscraper that’s home to the Instituto Nacional de Seguros.
Depending on your point of view, the building is either an ugly eyesore, an oddly ambitious and out of place gesture of modernist architecture, or it’s an architectural gem, a shining, living example of brutalism.
In any case, the structure is one of the largest in San Jose and it’s architecturally significant. The brutalist style was an influential architectural movement that came of age in the 1950s and was in vogue for a time in the ’60s and ’70s, a time when many large cities in Latin America were experiencing a building boom.
Ai Weiwei is one of China’s leading artists. He’s perhaps the nation’s best-known artist internationally. The Beijing National Stadium, the centerpiece venue of the 2008 Olympics Games and dubbed the “Bird’s Nest,” was designed by Weiwei and built by architects Herzog and de Meuron.
Weiwei has been a politically controversial figure within China for years, but has recently run further afoul of the Chinese government to the point where, as the New York Times reports, he has been detained for “economic crimes.”
Below is an image of a 2009 installation artwork by Weiwei in at the influential “According to What?” exhibition in Beijing.
San Jose, the capital city of Costa Rica, like many a Latin American capital in the 1950s and ’60s, went through a building boom.
The city is dotted with many low-rise buildings and a few skyscrapers that are testament to some of the prevalent contemporary and forward-looking styles of the era.
Some of these structures have not aged well. Others have a certain vintage-modern, diamond-in-the-rough quality.
Of the better ones, you can see the timeless quality of the architectural design and imagine them being restored someday. Below is a building on a side street off of Avenida Central in downtown San Jose.
Global Graphica is on a surfing trip in Costa Rica this week, so the posts may be fewer and farther between as we take a much needed vacay and struggle to find a reliable WiFi connection during our journey. You’ll be seeing some pix of the visual culture we find interesting or striking in this amazing Central American country.
Below is some graffiti art we found on a vacant billboard in the Pacific coast surf town of Jaco. The outdoor advertising space proclaims “Your Business Must be Here!” But some graffiti writers gave it some spray-can touches that make the board aesthetically striking and fun.
Surf’s up. Gotta run.
Fresh work by Haculla (a.k.a., artist Harif Guzman) in his usual spot on an old garage door on Lafayette Street, next to Cafe Select and across from Petrosino Park in SoHo. This paint job references the “pimped-out” D.I.Y. car sub-culture, which overlaps several American ethnic, music-based and hobbyist sub-cultures. “All cherried out” and “More ounce to the bounce” complete the picture, as does the signature “Haculla Lives.”