Brazilian contemporary artist Fredone Fone recently completed this beautiful abstract mural in Espirito Santo, Brazil.
Photo by Fredone Fone.
Pictured here is artist David Flores’s super-Instagrammable and super-cute mural depicting the classic comicstrip characters Calvin and Hobbes at the Dangerbird Records building in Los Angeles. There’s a mashup of graphic visions at play here. Flore’s work has a impressionistic illustrative style that relies on strong clean lines that organize the surfaces of his subjects into panels in various hues of a thematic color. The challenge here is rendering that style on popular characters that have an established and easily recognizable graphic identity. Calvin and Hobbes are drawn in a style by Bill Waterson, their original creator, that is distinct. Flores has managed to faithfully render Waterson’s characters and style and yet bring his recognizable aesthetic to the artwork.
Cacti, like the illustrated tri-color cactus pasted onto this dumpster, dot Southern California’s natural desert landscape from Coachella to Mexico to the coastline of Santa Barbara and e eruwhete in between. So it’s fitting that street art depicting this resilient desert plant would dot the urban landscape of Los Angeles. The one on the dumpster in the pic above is in LA’s Arts District, an area that until recent gentrification was a kind of urban desert.
Love is a recurring theme of a lot of street art. And often it’sin its simplest, plainest, most straightforward expressions that resonates with viewers. JGoldcrown’s widely Instagrammed “Lovewall” comes to mind, as does Casey Kulig’s globally-spread “Love Me” meme. “Love Me Anyways” is painted on sidewalks and walls in a handwritten-style of lettering that exposes some personality in the artist. The example pictured above was found in the Arts District in Downtown Los Angeles.
The ever-gentrifying Arts District in Downtown Los Angeles is home to lots of large-scale street art, including this classic Shepard Fairey politically-tinged mural on Alameda Street behind the Angel City Brewery. The artwork depicts the late U.S. president Ronald Reagan holding a sign that says “Legislative influence for sale.” Its message — and politically expressive art in general — strongly resonates in the current American political climate.
For years we would see the wheat-pasted artwork of artist Spazmat posted around downtown New York City. His posters were unmissable. His street art was comprised of an iconic image: An illustrated portrait of a skeleton with a cell phone in its bony hand held up to the skull as if talking on the phone. The posters were usually rendered in a stark white on black. Informally dubbed as “Skull Phone,” the image suggested many things, among these the dangers of technology. We hadn’t seen Spazmat’s artwork in many years until we recently spotted one of his skull phone wheaties on a utility box along Pacific Coast Highway in Los Angeles. This one was printed in blue and white with a striped design, almost nautical in style and fitting for its location a few meters across the road from the ocean.