Painting a Giant: Owen Dippie’s Monumental Basquiat in NYC New Zealand painter and muralist Owen Dippie first encountered Jean-Michel Basquiat’s work when he was thirteen, and the admiration has stayed with him ever since. Decades later, he decided to pay tribute in a way no one could miss. He financed the entire project himself, climbed high above the Bowery, and created a six-story portrait of the artist just steps from where Basquiat once lived and worked. No commercial commission, no painting crew, no assistants. Continue reading Painting a Giant: Owen Dippie’s Monumental Basquiat in NYC at Brooklyn Street Art. https://www.brooklynstreetart.com/2026/10/29/painting-a-giant-owen-dippies-monumental-basquiat-in-nyc/ #owendippie #monumentalbasquiat #giant #nyc #painting #newzealand #bowery #rss #feeds #linksharing #qwibbit

Dyoma Paints “Shandarba,” a Ryazan Folk Dance Across a Folded Facade Dyoma has painted “Shandarba” across a residential building at 1A Kashirina Street in central Ryazan. Named for a traditional women’s dance from the Ryazan region, the mural turns the building’s projecting and recessed corners into part of its composition. The shape of the facade gave Alexander Demkin, who works as Dyoma21, his starting point. Its angles reminded him of dancers linking arms and turning face to face. He initially considered keeping the pair together, but the many windows in the central section made that arrangement impractical. Separating the figures let him carry the dance across the building without covering its openings. Dyoma says he drew the women’s clothing from costumes associated with Ryazan’s traditions. He chose a close range of warm colours to sit alongside the building’s existing colour. Light within the composition was also planned to work with light from the windows after dark—an effect conceived around the building as it is used, rather than the wall alone. In Dyoma’s account, Shandarba is danced by women in pairs, with the pairs moving around a circle and flowing from one formation into another. That movement gave him a subject broad enough for what he describes as the city’s largest mural, in a prominent central location. The facade’s angles suggested the first gesture; its windows determined how the dancers would be placed. The mural was made for Ryazan’s Slovo street-art festival. Dyoma credits @versus_flow with helping on the work. It can be seen on the residential building at 1A Kashirina Street, near the intersection with Pervomaysky Prospekt. Images via @dyoma21 on Instagram. https://streetartnews.net/2026/10/dyoma-paints-shandarba-a-ryazan-folk-dance-across-a-folded-facade.html #shandarba #facade #kashirinastreet #alexanderdemkin #pervomayskyprospekt #rss #feeds #linksharing #qwibbit

Keith Haring and CityKids’ 1986 Liberty Banner Returns as a New Print Collection Keith Haring at work on CityKids Speak on Liberty, 1986. Archival photograph courtesy of CityKids, supplied by ICONIC. In June 1986, Keith Haring joined around 1,000 young people at New York’s Jacob K. Javits Convention Center to make a banner too large to take in at a glance. Across three days, his black outlines became a 90-by-30-foot Statue of Liberty, surrounded and filled by the drawings, names and messages of the CityKids participants. Forty years later, that collective work is the starting point for a new print and canvas collection released by ICONIC in partnership with CityKids on October 28, 2026. Titled CityKids Speak on Liberty: The People’s Masterpiece, the release brings sections of the original banner into smaller formats while keeping the young contributors’ marks visible. The details matter here: within Haring’s broad, immediately recognisable lines are hundreds of individual gestures, each responding to the idea of freedom. Haring and CityKids with the original banner in 1986. Archival photograph courtesy of CityKids, supplied by ICONIC. A public artwork built by a thousand hands The banner was made for the Statue of Liberty’s centennial and first displayed at Liberty Tower in Battery Park City on July 4, 1986. Haring provided the framework, but the young people made its surface their own. Viewed from a distance, the statue and the figures around her hold together as a single image. Move closer and the composition breaks into handwriting, faces, symbols and colour, recording the people who took part. That relationship between a recognisable image and an open invitation to participate sits at the heart of the project. Haring’s line gave the work its structure without smoothing away the differences between its contributors. The banner carries the unevenness and energy of a shared painting session, with no attempt to make every hand look alike. Its public life continued long after the centennial. The banner appeared as a backdrop for Paul McCartney’s performance of “Freedom” at the 2002 Super Bowl pregame ceremony, travelled to Tour Paris 13 in 2013, and was unfurled at Liberty State Park in 2015. In 2020, it was digitised at full scale in a Brooklyn warehouse, allowing its dense surface to be examined in detail. The Face of Liberty, drawn from the 1986 collaboration. Image courtesy of CityKids and ICONIC. From the banner to the editions The new collection includes four large-format prints: The Liberty Torch, The Face of Liberty, We The People I and We The People II. Each is offered in an edition of 100 at $1,250. Two paired collector sets are priced at $2,100, while a $350 open-edition print presents the complete composition. Two made-to-order canvas versions are available at $5,000 each. The paper editions use archival pigment printing on Hahnemühle paper and carry an embossed CityKids logo; the limited editions are hand-numbered. These are new reproductions of the collaborative 1986 artwork. Haring’s “KH86” mark, visible within selected compositions, is reproduced from the original banner rather than a newly applied signature. Presentation visual of the 2026 print collection. Courtesy of CityKids and ICONIC. A portion of proceeds supports The CityKids Foundation’s youth arts, education and leadership work. Founded by Laurie Meadoff in 1985, the New York organisation gave the original participants a place to speak through art. The release returns attention to those contributors as well as to Haring: their names and drawings remain inseparable from the image. The collection is available through ICONIC. For more on Haring’s continuing presence on the street, revisit the Haring and Basquiat tribute mural in Melbourne and Owen Dippie’s Haring tribute in Bushwick. https://streetartnews.net/2026/10/keith-haring-and-citykids-1986-liberty-banner-returns-as-a-new-print-collection.html #keithharing #liberty #bannerreturns #newprint #citykids #printcollection #iconic #newyork #statue #conventioncenter #rss #feeds #linksharing #qwibbit

A Lake Above the Streets: Andreco’s Lago sospeso in Rome A vast aquatic landscape painted on the pavement becomes a collective artwork and an open-air playground. Artistic direction by Andrea Conte (Andreco). One more project above the streets before it snows! Italian street artist and environmental engineer Andreco has a natural talent for bringing together people, ideas, and disciplines, and his latest project installed last week in Rome is another tribute to the natural world—this time, an imaginary lake spread across an elevated pedestrian plaza and its connecting walkways, large enough to be seen from the sky. Continue reading A Lake Above the Streets: Andreco’s Lago sospeso in Rome at Brooklyn Street Art. https://www.brooklynstreetart.com/2026/10/27/a-lake-above-the-streets-andrecos-lago-sospeso-in-rome/ #lakeabove #rome #lago #andreco #streets #conte #artistic #rss #feeds #linksharing #qwibbit

Zadie Xa and Benito Mayor Vallejo Bring Murals, Sound and Mythology to Toronto Zadie Xa and Benito Mayor Vallejo have brought a world of murals, painted landscapes and marine forms to The Power Plant in Toronto. Opening on October 24, 2026, Moonlit Confessions Across Deep Sea Echoes: Your Ancestors Are Whales, and Earth Remembers Everything places the visitor inside a setting where painting, sound and sculpture are experienced together. Zadie Xa with Benito Mayor Vallejo, earlier presentation at Esker Foundation, Calgary, 2026. Photo: Blaine Campbell. The exhibition is Xa’s first major solo presentation in Toronto, developed in collaboration with Mayor Vallejo. Korean folklore and mythology meet questions of ancestry, migration and the ocean, with the lakeside location giving those ideas a particular setting. The Power Plant sits on Toronto’s waterfront, and the relationship between land and water extends into the exhibition’s imagined environments. Hand-painted murals surround works made across different media. Rather than leaving painting contained within a single rectangle, the installation carries colour across the room, allowing sculpture and sound to sit within the same visual world. The result asks for movement and time: a landscape is encountered in fragments, then reassembled as the visitor walks through it. Exhibition view at Esker Foundation, Calgary, 2026. Photo: Blaine Campbell. Xa’s textile works draw on Korean patchwork traditions, setting contrasting pieces of colour around recognisable motifs. In the earlier Calgary presentation pictured here, an eye emerges from a dark central panel while pink and violet paint spreads across the surrounding wall. The seams remain visible, giving the image a physical structure that differs from the painted surface behind it. Shells, animals and other forms recur throughout this body of work. A suspended conch carries the associations of an instrument and a vessel, while painted creatures appear within turbulent landscapes. These elements connect storytelling to the nonhuman world, moving between familiar natural shapes and images that feel deliberately unsettled. Detail from the earlier Esker Foundation presentation, 2026. Photo: Blaine Campbell. The Toronto exhibition brings together new and existing works. It follows the project’s presentation at Esker Foundation in Calgary, with a further iteration planned for PHI in Montreal in 2027. Its changing settings allow the installation to develop across different architectural spaces rather than remain a fixed arrangement. Zadie Xa with Benito Mayor Vallejo at Esker Foundation, Calgary, 2026. Photo: Blaine Campbell. For visitors in Toronto, the exhibition runs until March 21, 2027 at The Power Plant, with free admission. The photographs accompanying this article document the earlier Calgary presentation, offering a closer look at the materials and imagery behind the project. https://streetartnews.net/2026/10/zadie-xa-and-benito-mayor-vallejo-bring-murals-sound-and-mythology-to-toronto.html #mayorvallejo #benitomayor #eskerfoundation #blainecampbell #toronto #powerplant #calgary #zadie #murals #moonlitconfessions #rss #feeds #linksharing #qwibbit

Ibrahim Mahama Transforms Fondation Cartier With “The Harvest Season” Ibrahim Mahama has opened The Harvest Season at Fondation Cartier in Paris, bringing the traces of Ghana’s industrial past into the institution’s new home on Place du Palais-Royal. Running from October 22, 2026 to February 28, 2027, the exhibition moves between salvaged factory structures, everyday objects and spaces designed for people to gather. Ibrahim Mahama, The Harvest Season, Fondation Cartier, Paris, 2026. Photo: © Benoît Fougeirol. Across the exhibition, materials carry the marks of use. Rows of stools, stacks of bottles and industrial frames offer a different kind of monument: one built from the objects through which work, exchange and collective life have taken place. Seen against the glass and steel of the Paris building, their worn surfaces remain a central part of the work. Among the major installations, Things Fall Apart draws on the Aboso Glass Factory in Ghana. Mahama acquired the disused factory to prevent it from being dismantled for scrap, bringing a section to Paris while connecting the project to his ongoing work in Tamale. The exhibition gives this industrial structure a new public setting without smoothing away its history. Installation view of The Harvest Season. Photo: © Benoît Fougeirol. In the photographs, a skeletal frame rises above crates of green bottles. Elsewhere, terracotta vessels fill the foreground, their rounded bodies set against the more regular stacks behind them. The repetition gives these ordinary objects a strong visual rhythm, but each still points back to the labour and infrastructure that produced it. The Harvest Season, Fondation Cartier. Photo: © Benoît Fougeirol. Parliament of Ghosts approaches collective memory through the form of an assembly. Wooden stools occupy a stepped circular space, creating an arrangement that suggests conversation and listening. It is an image of gathering that resonates with Mahama’s wider practice, including the cultural and educational spaces he has established in northern Ghana. The exhibition also opens outward to other practices. Artists and collectives associated with Mahama contribute to the presentation, including Dorothy Akpene Amenuke, James Barnor and Zohra Opoku. Suspended textiles introduce a different sense of weight and movement, their folds passing through the architectural frame. Works by Ibrahim Mahama and Dorothy Akpene Amenuke in The Harvest Season. Photo: © Benoît Fougeirol. The project reaches beyond the gallery, too. Photographs by James Barnor are presented in the Galerie Valois at Palais-Royal–Musée du Louvre metro station, placing part of the programme along a route used by the city’s daily travellers. The Harvest Season is on view at Fondation Cartier, 2 Place du Palais-Royal, Paris, until February 28, 2027. https://streetartnews.net/2026/10/ibrahim-mahama-transforms-fondation-cartier-with-the-harvest-season.html #fondationcartier #harvestseason #ibrahimmahama #benoitfougeirol #paris #ghana #akpeneamenuke #dorothyakpene #jamesbarnor #place #rss #feeds #linksharing #qwibbit

Pablo Kobayashi and Lucía Aumann Bring “Oxímoron” to Downtown Denver Pablo Kobayashi and Lucía Aumann have brought Oxímoron to downtown Denver for its first presentation in the United States. Installed inside Denver Pavilions from October 23–25, 2026, the inflatable work turns a commercial space into a temporary environment of colour, fabric and shifting boundaries. Oxímoron, publicity image supplied ahead of the Denver presentation. Image courtesy Persist Publicity. The piece rises around 13 feet high, but its scale is only part of the experience. Visitors enter the structure itself, moving between soft surfaces instead of looking at a sculpture from the outside. Blue, green, yellow and orange panels curve overhead, while tensioned sections cut across the interior and interrupt a straightforward view through the space. Kobayashi and Aumann developed the project during their 2025 residency at Platform in Vaasa, Finland. Built using surplus sail fabric, it brings materials associated with wind and movement into a different kind of architecture. Air supports the work, and the stitched panels turn colour into something that surrounds the body. Earlier view of Oxímoron. Image courtesy Pablo Kobayashi and Lucía Aumann. The title points towards the contradictions that emerge while moving through it. A surface can act as a wall from one position and open into another view a few steps later. The photographs show how daylight passes through the fabric, turning a person on the other side into a shadow. Inside and outside become less certain when the boundary is translucent and visibly soft. A visitor seen through the fabric of Oxímoron, in an earlier project photograph. Image courtesy Pablo Kobayashi and Lucía Aumann. The two artists bring architectural experience to the collaboration. Aumann’s research also engages philosophy and living systems, while their shared teaching explores pneumatic structures and the behaviour of materials. Those interests are visible here in a work that invites physical exploration rather than prescribing a single viewpoint. Presented by the Biennial of the Americas with Southwest Airlines, the Denver installation offers free, guided visits in small groups. Its location inside the Pavilions places experimental art along an everyday downtown route, giving a familiar urban interior a different use for three days. Pablo Kobayashi and Lucía Aumann. Image courtesy the artists. Oxímoron is presented at Denver Pavilions, 500 16th Street, Suite 120, from October 23–25, 2026. The accompanying photographs document the project before its U.S. debut. Full programme details are available from the Biennial of the Americas. https://streetartnews.net/2026/10/pablo-kobayashi-and-lucia-aumann-bring-oximoron-to-downtown-denver.html #luciaaumann #pablokobayashi #downtowndenver #oximoron #denverpavilions #unitedstates #bring #october #persistpublicity #rss #feeds #linksharing #qwibbit

Jammie Holmes Brings His Painting to an NFL Field Beneath the Eiffel Tower Jammie Holmes has brought one of his paintings onto the playing field in Paris. For the first edition of NFL COLOR FIELD, the Louisiana-born artist’s Untitled (2024) was translated into hand-painted end zones for a flag-football pitch beneath the Eiffel Tower, placing a portrait of childhood at the centre of a public sporting event. NFL COLOR FIELD project visual. Image courtesy NFL. The source painting shows a child surrounded by morning glory flowers. Broad pale petals frame the face, while dark leaves and stems fill the background. Enlarged and laid horizontally, the composition becomes a surface approached from different directions. The white pitch markings and green turf sit between the two painted ends, giving the work a very different setting from the wall of a gallery. Holmes connects the image to watching his sons grow up, and to the fleeting stages of childhood. That intimate subject survives the shift in scale. A public commission can easily become an exercise in spectacle; here, the starting point remains a single figure and the family experience behind it. Jammie Holmes, Untitled, 2024. Image courtesy NFL. The field was fabricated in New York by six muralists working with a field specialist, then transported to France. It formed part of NFL Experience Paris at Place Jacques-Rueff on October 23–24, 2026, where free public programming included flag football and skills workshops. For Holmes, the Paris setting also carries a personal connection. During a residency at the Académie des Beaux-Arts and Cité internationale des arts, he learned that his great-grandfather had travelled through France during the First World War. The project brings that family link together with his Louisiana upbringing and lifelong connection to the New Orleans Saints. Jammie Holmes in his studio. Photo: Daisy Avalos. COLOR FIELD extends the NFL’s Artist Replay programme, launched in 2023, and was developed with curator and arts strategist Jasmine Martin of Pivotal Arts. A further edition is planned for Miami Art Week in December, with the participating artist and programme still to be announced. The Paris presentation offers a direct way of taking painting into everyday activity: people encounter the image while gathering, playing and moving across the field. Take a closer look at the project and its source painting above. https://streetartnews.net/2026/10/jammie-holmes-brings-his-painting-to-an-nfl-field-beneath-the-eiffel-tower.html #eiffeltower #jammieholmes #nfl #field #painting #paris #nflexperience #arts #untitled #france #rss #feeds #linksharing #qwibbit

BSA Images Of The Week: 10.25.26 Welcome to BSA Images of the Week. The masks are coming out this week, and not just for the ICE agents. Costumes will be everywhere, and cosplayers will suddenly blend into the crowd. Exaggerated lips, hair, and boobs will no longer be the exclusive domain of drag clubs and Mar-a-Lago parties. Thousands of mini-Spider-Men and a million princesses will be knocking on doors and turning up on Ring cameras across the land. Here in New York, we’re accustomed to extremes in fashion and personality, despite the dulling effect of gentrification on so many neighborhoods. Continue reading BSA Images Of The Week: 10.25.26 at Brooklyn Street Art. https://www.brooklynstreetart.com/2026/10/25/bsa-images-of-the-week-10-25-26/ #bsaimages #newyork #ice #ring #exaggerated #rss #feeds #linksharing #qwibbit

SNIK Paints “Verdure” for Out in the Open in Aalborg SNIK has completed Verdure on a 14-metre wall in Aalborg, Denmark, for KIRK Gallery’s Out in the Open project. The artist duo describes figures entwined with abundant growth, bringing their hand-cut stencil work together with layers of colour and texture painted directly onto the wall. The composition places the precision of the stencilled figures alongside more organic marks, with colour and texture built both behind and in front of them. For SNIK, that meeting of controlled edges and looser painting is central to the work. They describe Verdure as an exploration of people’s relationship with nature, particularly its capacity to keep growing through the built environment. Working at this scale changed the decisions available to them. In the studio, the duo could return to an image and rework a passage; facing the Aalborg wall, they had to commit to those choices as they painted. SNIK says the mural brings together developments in their practice over the past year. Despite the size of the surface, they remained committed to cutting their stencils by hand. The artists also cite Danish folklore as an influence, without tying the mural to a particular tale. Their interest lies in making a work that belongs to the place where people will encounter it every day. “A reminder to let it grow,” is how they put the thought behind Verdure. KIRK Gallery invited SNIK to make the mural as part of Out in the Open, its project bringing large-scale works into Aalborg’s streets. The duo had previously presented studio works connected to murals in France, Germany and Italy at the gallery’s Urban Stories exhibition. Verdure takes their stencil process back outdoors, where the painted layers and figures can be seen at the scale of the wall. KIRK Gallery offers guided tours and a self-guided walk for visitors exploring the city’s murals. Images via @snikarts on Instagram. https://streetartnews.net/2026/10/snik-paints-verdure-for-out-in-the-open-in-aalborg.html #snikpaints #aalborg #open #verdure #kirkgallery #denmark #urbanstories #rss #feeds #linksharing #qwibbit