Book Review: Aerosol Art Kings: Photographs of Street Art in New York City, 2018–2024

Published by Schiffer Publishing Ltd, Kurt Boone’s Aerosol Art Kings is both an expansive photographic archive and a deeply personal chronicle of New York City’s aerosol art culture. Spanning 2018 to 2024, this volume not only captures the ephemeral vibrancy of street art across the five boroughs but also documents Boone’s own six-year journey traveling the streets, festivals, and iconic venues where aerosol art thrives.

Boone’s story begins with a “lucky break” in 2018, when curator and graffiti artist James Top invited him to photograph the legendary Graffiti Hall of Fame in Harlem. There, Boone observed pioneers like Cope 2, Wane COD, Delta 2, and Skeme at work—moments that fueled his fascination with the medium and inspired his determination to document aerosol art with rigor and respect. Armed with three cameras, he spent hours pursuing the perfect shot of a mural or style-writing masterpiece, laying the groundwork for his growing catalog of books on the subject.

The book is organized into four sections—Street Art, Style Writing, Murals, and Social Justice—and features over 200 works across the city. The Street Art section highlights the creativity of uncommissioned, often short-lived works spotted on walls, alleys, and storefronts in Brooklyn, Queens, Manhattan, and the Bronx. Boone emphasizes the fleeting nature of these pieces: painted over within weeks or months, their existence is preserved only through his lens.

Kurt Boone

The Murals section expands the scope to monumental works created at renowned festivals like the Bushwick Collective, Welling Court, Bed-Stuy Walls, and Boone Avenue Walls. Here, internationally recognized artists such as Kobra, Danielle Mastrion, and Tats Cru appear alongside emerging voices, all united by the scale and ambition of their projects.

Imagine

Perhaps the most poignant part of the book lies in the Social Justice section. Boone recalls photographing over 400 works in Soho during the summer of 2020, when plywood storefront coverings became canvases for artists responding to the Black Lives Matter movement and the COVID-19 pandemic. Recognizing the historic significance of this moment, he published Fresh Plywood NYC: Artists Rise Up in the Age of Black Lives Matter, which earned widespread acclaim and led to further opportunities to document major mural festivals in Jersey City and Miami.

Boone’s work is enriched by his deep understanding of graffiti’s cultural history. He reflects on the term “Kings”—a title that once denoted subway writers whose names blanketed New York’s trains in the 1970s—clarifying that in Aerosol Art Kings the word signifies respect for the multitude of artists working in spray paint today. With hundreds of practitioners and even entire industries dedicated to aerosol paint production, the art form has grown far beyond its origins while retaining its raw energy and grassroots spirit.

An insightful foreword by T.K. Mills, editor in chief of Up Magazine, situates Boone’s work within the larger trajectory of aerosol art and its place in contemporary culture. Combined with Boone’s meticulous captions noting artists’ names, locations, and festival contexts, the book is as much a historical document as it is a visual celebration.

Aerosol Art Kings ultimately succeeds as both archive and homage. It preserves works that would otherwise be lost to time, while honoring the artists—famous and unknown—who continue to transform New York’s walls into public galleries. Boone’s dedication, born of countless hours wandering the city with camera in hand, elevates this book into a must-have for collectors, scholars, and anyone fascinated by the enduring power of urban creativity.

The post Book Review: Aerosol Art Kings: Photographs of Street Art in New York City, 2018–2024 first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: Aerosol Art Kings: Photographs of Street Art in New York City, 2018–2024

Published by Schiffer Publishing Ltd, Kurt Boone’s Aerosol Art Kings is both an expansive photographic archive and a deeply personal chronicle of New York City’s aerosol art culture. Spanning 2018 to 2024, this volume not only captures the ephemeral vibrancy of street art across the five boroughs but also documents Boone’s own six-year journey traveling the streets, festivals, and iconic venues where aerosol art thrives.

Boone’s story begins with a “lucky break” in 2018, when curator and graffiti artist James Top invited him to photograph the legendary Graffiti Hall of Fame in Harlem. There, Boone observed pioneers like Cope 2, Wane COD, Delta 2, and Skeme at work—moments that fueled his fascination with the medium and inspired his determination to document aerosol art with rigor and respect. Armed with three cameras, he spent hours pursuing the perfect shot of a mural or style-writing masterpiece, laying the groundwork for his growing catalog of books on the subject.

The book is organized into four sections—Street Art, Style Writing, Murals, and Social Justice—and features over 200 works across the city. The Street Art section highlights the creativity of uncommissioned, often short-lived works spotted on walls, alleys, and storefronts in Brooklyn, Queens, Manhattan, and the Bronx. Boone emphasizes the fleeting nature of these pieces: painted over within weeks or months, their existence is preserved only through his lens.

Kurt Boone

The Murals section expands the scope to monumental works created at renowned festivals like the Bushwick Collective, Welling Court, Bed-Stuy Walls, and Boone Avenue Walls. Here, internationally recognized artists such as Kobra, Danielle Mastrion, and Tats Cru appear alongside emerging voices, all united by the scale and ambition of their projects.

Imagine

Perhaps the most poignant part of the book lies in the Social Justice section. Boone recalls photographing over 400 works in Soho during the summer of 2020, when plywood storefront coverings became canvases for artists responding to the Black Lives Matter movement and the COVID-19 pandemic. Recognizing the historic significance of this moment, he published Fresh Plywood NYC: Artists Rise Up in the Age of Black Lives Matter, which earned widespread acclaim and led to further opportunities to document major mural festivals in Jersey City and Miami.

Boone’s work is enriched by his deep understanding of graffiti’s cultural history. He reflects on the term “Kings”—a title that once denoted subway writers whose names blanketed New York’s trains in the 1970s—clarifying that in Aerosol Art Kings the word signifies respect for the multitude of artists working in spray paint today. With hundreds of practitioners and even entire industries dedicated to aerosol paint production, the art form has grown far beyond its origins while retaining its raw energy and grassroots spirit.

An insightful foreword by T.K. Mills, editor in chief of Up Magazine, situates Boone’s work within the larger trajectory of aerosol art and its place in contemporary culture. Combined with Boone’s meticulous captions noting artists’ names, locations, and festival contexts, the book is as much a historical document as it is a visual celebration.

Aerosol Art Kings ultimately succeeds as both archive and homage. It preserves works that would otherwise be lost to time, while honoring the artists—famous and unknown—who continue to transform New York’s walls into public galleries. Boone’s dedication, born of countless hours wandering the city with camera in hand, elevates this book into a must-have for collectors, scholars, and anyone fascinated by the enduring power of urban creativity.

The post Book Review: Aerosol Art Kings: Photographs of Street Art in New York City, 2018–2024 first appeared on street art united states.
by Sami Wakim via street art united states

Between Devastation and Indifference: A Christian Lebanese Reflection

As a Christian Lebanese, I cannot hide my disappointment—my own community has shown a staggering lack of empathy toward those suffering in the south. While Israeli bombs reduce villages, homes, and lives to rubble, many Christians in Beirut continue as if nothing has changed. Restaurants are full, nightlife is booming, and daily routines remain untouched, as though the war and the suffering of our southern neighbors were happening in another country altogether. This indifference is not just painful to witness—it is shameful.

Since October 2023, when the Gaza war spilled into Lebanon, southern towns and villages have endured relentless Israeli aggression. Airstrikes have killed civilians, including children, while infrastructure—homes, hospitals, water systems, farmland—has been systematically destroyed. Over 100,000 people have been displaced, forced to leave their homes and seek shelter in Beirut and elsewhere, only to face high rent, rising living costs, and scarce work opportunities. Humanitarian aid, when it comes at all, is inconsistent and uneven.

When I visited Beirut in May, the contrast was impossible to ignore. In the devastated south, the weight of war is visible everywhere: bombed-out houses, displaced families, communities reduced to ruins. Yet, drive a mere two kilometers into certain Christian neighborhoods, and you see life uninterrupted. Cafés buzz, streets glow with nightlife, and conversations rarely touch on the suffering of those just down the road. The indifference is louder than the silence of the bombs.

This moral disconnect cuts deep for me. Faith, especially Christian faith, is supposed to rest on compassion, solidarity, and care for one’s neighbor. But when fellow citizens are bombed, displaced, and stripped of dignity, and the response is indifference, then something has gone terribly wrong. To turn away, to carry on without acknowledgment, is to betray the very values we claim to uphold.

Lebanon cannot afford this kind of selective humanity. Suffering in the south is suffering for the whole nation. If we fail to recognize that, we only deepen divisions and betray our shared identity as Lebanese. I believe my community must reckon with its privilege and indifference and move toward empathy—real empathy—that transcends sectarian lines.

Because the people of the south deserve more than survival. They deserve solidarity.

The post Between Devastation and Indifference: A Christian Lebanese Reflection first appeared on street art united states.
by Sami Wakim via street art united states

Between Devastation and Indifference: A Christian Lebanese Reflection

As a Christian Lebanese, I cannot hide my disappointment—my own community has shown a staggering lack of empathy toward those suffering in the south. While Israeli bombs reduce villages, homes, and lives to rubble, many Christians in Beirut continue as if nothing has changed. Restaurants are full, nightlife is booming, and daily routines remain untouched, as though the war and the suffering of our southern neighbors were happening in another country altogether. This indifference is not just painful to witness—it is shameful.

Since October 2023, when the Gaza war spilled into Lebanon, southern towns and villages have endured relentless Israeli aggression. Airstrikes have killed civilians, including children, while infrastructure—homes, hospitals, water systems, farmland—has been systematically destroyed. Over 100,000 people have been displaced, forced to leave their homes and seek shelter in Beirut and elsewhere, only to face high rent, rising living costs, and scarce work opportunities. Humanitarian aid, when it comes at all, is inconsistent and uneven.

When I visited Beirut in May, the contrast was impossible to ignore. In the devastated south, the weight of war is visible everywhere: bombed-out houses, displaced families, communities reduced to ruins. Yet, drive a mere two kilometers into certain Christian neighborhoods, and you see life uninterrupted. Cafés buzz, streets glow with nightlife, and conversations rarely touch on the suffering of those just down the road. The indifference is louder than the silence of the bombs.

This moral disconnect cuts deep for me. Faith, especially Christian faith, is supposed to rest on compassion, solidarity, and care for one’s neighbor. But when fellow citizens are bombed, displaced, and stripped of dignity, and the response is indifference, then something has gone terribly wrong. To turn away, to carry on without acknowledgment, is to betray the very values we claim to uphold.

Lebanon cannot afford this kind of selective humanity. Suffering in the south is suffering for the whole nation. If we fail to recognize that, we only deepen divisions and betray our shared identity as Lebanese. I believe my community must reckon with its privilege and indifference and move toward empathy—real empathy—that transcends sectarian lines.

Because the people of the south deserve more than survival. They deserve solidarity.

The post Between Devastation and Indifference: A Christian Lebanese Reflection first appeared on street art united states.
by Sami Wakim via street art united states

27 Schoolteachers and a Volcano” – A New Mural by Pat Perry in Princeton, Wisconsin

In September 2025, the Princeton Art Collective unveiled its latest public art commission: 27 Schoolteachers and a Volcano, a mural by internationally recognized artist Pat Perry. Painted in the heart of Princeton, Wisconsin, the work pays tribute to local educators while reflecting on the broader human condition.

For the piece, Perry collaborated with 27 local schoolteachers, using their portraits as the foundation for a narrative that explores resilience, responsibility, and the quiet persistence of purpose in uncertain times.

 “I’m proud of the concept, and I feel like this one had some extra heart and soul behind it. Twenty-seven local schoolteachers let us use their portraits to demonstrate an idea about the moment we are living in. I think it showed another way that art can speak to local communities without being formulaic or cliché,” Perry said.

The mural combines striking portraiture with metaphorical imagery, centering around the idea that even in small rural towns, people are never fully insulated from the immense forces that shape history.

In his artist statement, Perry reflected on the mural’s deeper meaning:
“Even in a small rural town, you’re not insulated from the immense forces that shape the world. History happens. Economies rise and fall. Wars begin. Continents drift and mountains erode. One day, the sun will expand and swallow the Earth. Most of us don’t get much of a say in any of it. Yet, day after day, people find purpose. They wake up early, show up with intention, and try to make sense of things—not just for themselves, but also for others. Teachers do this every day. Not for recognition, and rarely for much pay. It’s a repetitive act of maintenance that holds things together. Choosing to shoulder that task, even while standing at the edge of something vast and indifferent, is a quiet act of defiance. Amidst overwhelmingness and uncontrollableness and unanswerableness, teachers—and all custodians of human affairs—keep meaning in the world by steadily and stubbornly tending to it.”

Through 27 Schoolteachers and a Volcano, Perry highlights the profound role of teachers as anchors of meaning, even when the world feels uncertain and overwhelming. The mural, at once local and universal, reflects his belief in the power of public art to connect communities through shared human stories.

The Princeton Art Collective’s commission not only enriches the town’s cultural landscape but also honors the everyday contributions of educators—those who continue to “keep meaning in the world” against all odds.

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The post 27 Schoolteachers and a Volcano” – A New Mural by Pat Perry in Princeton, Wisconsin first appeared on street art united states.
by Sami Wakim via street art united states

27 Schoolteachers and a Volcano” – A New Mural by Pat Perry in Princeton, Wisconsin

In September 2025, the Princeton Art Collective unveiled its latest public art commission: 27 Schoolteachers and a Volcano, a mural by internationally recognized artist Pat Perry. Painted in the heart of Princeton, Wisconsin, the work pays tribute to local educators while reflecting on the broader human condition.

For the piece, Perry collaborated with 27 local schoolteachers, using their portraits as the foundation for a narrative that explores resilience, responsibility, and the quiet persistence of purpose in uncertain times.

 “I’m proud of the concept, and I feel like this one had some extra heart and soul behind it. Twenty-seven local schoolteachers let us use their portraits to demonstrate an idea about the moment we are living in. I think it showed another way that art can speak to local communities without being formulaic or cliché,” Perry said.

The mural combines striking portraiture with metaphorical imagery, centering around the idea that even in small rural towns, people are never fully insulated from the immense forces that shape history.

In his artist statement, Perry reflected on the mural’s deeper meaning:
“Even in a small rural town, you’re not insulated from the immense forces that shape the world. History happens. Economies rise and fall. Wars begin. Continents drift and mountains erode. One day, the sun will expand and swallow the Earth. Most of us don’t get much of a say in any of it. Yet, day after day, people find purpose. They wake up early, show up with intention, and try to make sense of things—not just for themselves, but also for others. Teachers do this every day. Not for recognition, and rarely for much pay. It’s a repetitive act of maintenance that holds things together. Choosing to shoulder that task, even while standing at the edge of something vast and indifferent, is a quiet act of defiance. Amidst overwhelmingness and uncontrollableness and unanswerableness, teachers—and all custodians of human affairs—keep meaning in the world by steadily and stubbornly tending to it.”

Through 27 Schoolteachers and a Volcano, Perry highlights the profound role of teachers as anchors of meaning, even when the world feels uncertain and overwhelming. The mural, at once local and universal, reflects his belief in the power of public art to connect communities through shared human stories.

The Princeton Art Collective’s commission not only enriches the town’s cultural landscape but also honors the everyday contributions of educators—those who continue to “keep meaning in the world” against all odds.

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The post 27 Schoolteachers and a Volcano” – A New Mural by Pat Perry in Princeton, Wisconsin first appeared on street art united states.
by Sami Wakim via street art united states

Gaza: Resilience Amid Ruins

I live in the United States, where I often look around and see people going about their day, sipping coffee, jogging, shopping — untouched by the images of Gaza that now live in my mind. It is not indifference born of ignorance; it is a chosen blindness. To the so-called “West”: spare us your lectures on human rights and racism. While you preach morality, your governments arm and enable genocide. While Palestinians are slaughtered, you go about life as if nothing is happening. Your silence is complicity, your comfort is built on our blood. Don’t speak of justice while you stand by and watch it burn.

And yet, despite this abandonment, the Palestinian people endure. For more than 16 years under siege, for nearly two years under unrelenting bombardment since October 2023, Gaza has stood as a testament to human resilience. Schools, hospitals, homes, and entire neighborhoods have been reduced to rubble. Families torn apart. Communities erased. And still — amid starvation, thirst, and the constant fear of death — the people of Gaza refuse to disappear.

Take the words of Munira El Najar, a Palestinian mother and teacher, who wrote to the mothers of the world:
“We do not ask for pity, but for witness… so that your children, when they grow up, will know that we had children too, that we had arms and hearts and fears just like you. Let the world remember that in Gaza mothers still give birth under fire, raise children in tents, and teach them that love survives even in war.”

This is the unfathomable resilience of Gaza. Mothers counting their children each morning, praying none were lost to the night’s bombardment. Fathers standing in food lines not knowing if bread will come. Children learning to laugh despite the sound of drones circling above. Life in Gaza is not lived in the ordinary sense — it is survival, a waiting, a testament.

Journalists, doctors, nurses, and aid workers in Gaza embody a kind of courage that the Western world cannot even imagine. They know that to report, to heal, to serve is to paint a target on their backs. Israel openly hunts them, threatens them, and kills them — and yet they persist. They work not only out of duty to their people, but out of defiance to a world that ignores their suffering and denies their reality. Their heroism is incomprehensible, a kind of sacrifice beyond the imagination of those who sit comfortably in newsrooms in New York, London, or Paris.

Even the armed groups, despite the relentless military campaign against them, continue to resist. Israel has degraded their capabilities but has not extinguished them. Their persistence, though militarily small compared to Israel’s might, is symbolic: Gaza will not be erased.

What lessons do we, in our comfort, draw from this? Gaza teaches us resilience in the face of despair, patience in the face of endless hardship, faith even when the world crumbles. Their lives, filled with uncertainty, uprooted by violence and deprivation, are still marked by hope and devotion to God. Their “beautiful patience” (ṣabr jamīl) is not passive, but active — a refusal to surrender dignity.

And above all, Gaza teaches us community. In the ruins, neighbors feed one another, families shelter strangers, and people hold each other up when the ground has given way. Their unity under fire reminds us that solidarity is not an abstract concept; it is the act of survival itself.

The West will one day look back in shame — or be judged by history as complicit. But Gaza will be remembered for something else: for resilience, for faith, for love under fire. The people of Gaza, rooted like olive trees in their land, remind us that when the forest burns, the trees do not run. They endure, and in their endurance lies humanity’s most powerful lesson.

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The post Gaza: Resilience Amid Ruins first appeared on street art united states.
by Sami Wakim via street art united states

Gaza: Resilience Amid Ruins

I live in the United States, where I often look around and see people going about their day, sipping coffee, jogging, shopping — untouched by the images of Gaza that now live in my mind. It is not indifference born of ignorance; it is a chosen blindness. To the so-called “West”: spare us your lectures on human rights and racism. While you preach morality, your governments arm and enable genocide. While Palestinians are slaughtered, you go about life as if nothing is happening. Your silence is complicity, your comfort is built on our blood. Don’t speak of justice while you stand by and watch it burn.

And yet, despite this abandonment, the Palestinian people endure. For more than 16 years under siege, for nearly two years under unrelenting bombardment since October 2023, Gaza has stood as a testament to human resilience. Schools, hospitals, homes, and entire neighborhoods have been reduced to rubble. Families torn apart. Communities erased. And still — amid starvation, thirst, and the constant fear of death — the people of Gaza refuse to disappear.

Take the words of Munira El Najar, a Palestinian mother and teacher, who wrote to the mothers of the world:
“We do not ask for pity, but for witness… so that your children, when they grow up, will know that we had children too, that we had arms and hearts and fears just like you. Let the world remember that in Gaza mothers still give birth under fire, raise children in tents, and teach them that love survives even in war.”

This is the unfathomable resilience of Gaza. Mothers counting their children each morning, praying none were lost to the night’s bombardment. Fathers standing in food lines not knowing if bread will come. Children learning to laugh despite the sound of drones circling above. Life in Gaza is not lived in the ordinary sense — it is survival, a waiting, a testament.

Journalists, doctors, nurses, and aid workers in Gaza embody a kind of courage that the Western world cannot even imagine. They know that to report, to heal, to serve is to paint a target on their backs. Israel openly hunts them, threatens them, and kills them — and yet they persist. They work not only out of duty to their people, but out of defiance to a world that ignores their suffering and denies their reality. Their heroism is incomprehensible, a kind of sacrifice beyond the imagination of those who sit comfortably in newsrooms in New York, London, or Paris.

Even the armed groups, despite the relentless military campaign against them, continue to resist. Israel has degraded their capabilities but has not extinguished them. Their persistence, though militarily small compared to Israel’s might, is symbolic: Gaza will not be erased.

What lessons do we, in our comfort, draw from this? Gaza teaches us resilience in the face of despair, patience in the face of endless hardship, faith even when the world crumbles. Their lives, filled with uncertainty, uprooted by violence and deprivation, are still marked by hope and devotion to God. Their “beautiful patience” (ṣabr jamīl) is not passive, but active — a refusal to surrender dignity.

And above all, Gaza teaches us community. In the ruins, neighbors feed one another, families shelter strangers, and people hold each other up when the ground has given way. Their unity under fire reminds us that solidarity is not an abstract concept; it is the act of survival itself.

The West will one day look back in shame — or be judged by history as complicit. But Gaza will be remembered for something else: for resilience, for faith, for love under fire. The people of Gaza, rooted like olive trees in their land, remind us that when the forest burns, the trees do not run. They endure, and in their endurance lies humanity’s most powerful lesson.

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The post Gaza: Resilience Amid Ruins first appeared on street art united states.
by Sami Wakim via street art united states

Rethinking “The Promised Land” and “The Chosen People”

Religious language can be beautiful, comforting, and deeply meaningful. But it can also carry implications that go unchallenged for generations. Phrases like “the promised land” and “the chosen people” are more than just symbolic — they can shape identities, justify actions, and, in some cases, perpetuate inequality.

In today’s world — where nationalism, displacement, and cultural supremacy often hide behind tradition — it’s worth asking: What happens when these sacred ideas are used to claim power over others?

To call any land “promised” by a divine being is to assert an unshakable, non-negotiable right to it. It removes the conversation from the realm of dialogue and plants it firmly in the realm of destiny.

That kind of language has long been used to legitimize occupation, displacement, and expansion — not just in ancient scripture, but in modern geopolitics. When faith becomes the foundation for political entitlement, it can justify actions that would otherwise be deemed unjust.

The idea of being “chosen” by God might instill pride and purpose within a community. But it also sets up an implicit contrast: if one group is chosen, then others are not.

This belief, when internalized as absolute truth, can easily morph into exclusion or superiority. Throughout history, it has fueled both a sense of moral exceptionalism and the marginalization of those deemed “outside” the divine plan.

These concepts aren’t just theological—they’re political. They’ve shaped borders, fueled conflicts, and underpinned colonization. From the conquest narratives in scripture to modern nation-state claims, sacred entitlement has often been used to mask real-world power struggles.

The danger is clear: when divine justification overrides human rights, justice becomes a casualty.

None of this is to dismiss the power of faith, identity, or spiritual heritage. But as societies evolve, we need to be brave enough to ask hard questions of the stories we’ve inherited. Faith should inspire compassion, not conquest. Identity should build bridges, not walls.

So maybe it’s time to stop asking who is “chosen” and start asking how we can choose one another — in empathy, equity, and shared humanity.

The post Rethinking “The Promised Land” and “The Chosen People” first appeared on street art united states.
by Sami Wakim via street art united states

Rethinking “The Promised Land” and “The Chosen People”

Religious language can be beautiful, comforting, and deeply meaningful. But it can also carry implications that go unchallenged for generations. Phrases like “the promised land” and “the chosen people” are more than just symbolic — they can shape identities, justify actions, and, in some cases, perpetuate inequality.

In today’s world — where nationalism, displacement, and cultural supremacy often hide behind tradition — it’s worth asking: What happens when these sacred ideas are used to claim power over others?

To call any land “promised” by a divine being is to assert an unshakable, non-negotiable right to it. It removes the conversation from the realm of dialogue and plants it firmly in the realm of destiny.

That kind of language has long been used to legitimize occupation, displacement, and expansion — not just in ancient scripture, but in modern geopolitics. When faith becomes the foundation for political entitlement, it can justify actions that would otherwise be deemed unjust.

The idea of being “chosen” by God might instill pride and purpose within a community. But it also sets up an implicit contrast: if one group is chosen, then others are not.

This belief, when internalized as absolute truth, can easily morph into exclusion or superiority. Throughout history, it has fueled both a sense of moral exceptionalism and the marginalization of those deemed “outside” the divine plan.

These concepts aren’t just theological—they’re political. They’ve shaped borders, fueled conflicts, and underpinned colonization. From the conquest narratives in scripture to modern nation-state claims, sacred entitlement has often been used to mask real-world power struggles.

The danger is clear: when divine justification overrides human rights, justice becomes a casualty.

None of this is to dismiss the power of faith, identity, or spiritual heritage. But as societies evolve, we need to be brave enough to ask hard questions of the stories we’ve inherited. Faith should inspire compassion, not conquest. Identity should build bridges, not walls.

So maybe it’s time to stop asking who is “chosen” and start asking how we can choose one another — in empathy, equity, and shared humanity.

The post Rethinking “The Promised Land” and “The Chosen People” first appeared on street art united states.
by Sami Wakim via street art united states

URBAN NATION: Where Pop Culture Meets Public Dialogue

In the heart of Berlin, tucked between the murals and vibrancy of Bülowstraße, lies the URBAN NATION Museum — a powerful institution dedicated not only to Urban Contemporary Art, but to using it as a catalyst for social dialogue, education, and community-building. Founded in 2013 as an initiative of Stiftung Berliner Leben (Living in Berlin), URBAN NATION exists at the intersection of public housing, visual culture, and creative activism.

I was recently invited by Aune Tette, one of the passionate voices behind URBAN NATION, for a private tour of the museum. Between the arresting visuals of murals, installations, and graffiti-style writings, I had the opportunity to sit down with Aune to learn more about the museum’s philosophy and future direction.

At its core, URBAN NATION’s mission is to inspire generations to think and live Urban Contemporary Art as an artistic solution to urban development. It’s a vision that reimagines the museum not merely as a site for spectatorship but as a community engine — a cultural space grounded in participation, representation, and visibility.

When asked what sets URBAN NATION apart from traditional art institutions, Aune shared, “We don’t see art as passive observation here. This is a living, breathing space where art emerges from — and returns to — the streets. Our exhibitions reflect that; they engage with communities, young people, marginalized voices, and invite them to co-author narratives.”

The museum’s understanding of Urban Contemporary Art is rooted in a rich tapestry of influences — from the pop-art legacy of Warhol and Lichtenstein to the explosive energy of Basquiat, Haring, and countless anonymous street artists. It embraces the visual language of everyday life: advertising, caricatures, comic books, political satire, and underground expression. It resists commercialization even as it critiques it. Most importantly, it recognizes the power of images — both in their potential to manipulate and to liberate.

Aune highlighted URBAN NATION’s flagship programs, including Fresh A.I.R., the artist-in-residence initiative offering free studio space in Berlin to artists who engage with local communities through socially-oriented projects. There’s also the Hip Hop Hub, an outreach project using music, dance, and DJing to empower Berlin’s youth through creative self-expression. And in its dedication to preservation, the Martha Cooper Library stands as one of the most significant archives for graffiti, street photography, and urban visual culture.

But perhaps most compelling is URBAN NATION’s educational mission: to teach visitors to decode the world around them. In a society saturated with images — some persuasive, some deceptive — the museum sees visual literacy as essential. Through dialogical tours, workshops, lectures, and digital offerings, URBAN NATION promotes ‘learning to see’ not just as a form of artistic appreciation, but as a form of critical resistance.

Looking ahead, Aune shared that the museum is working on expanding its digital footprint: “We’re planning to make a larger portion of our library and collection publicly accessible online. It’s about democratizing access to culture and empowering more people to engage with it deeply.”

The URBAN NATION Museum is more than a celebration of urban aesthetics — it is an evolving experiment in civic imagination. It embraces the power of art to challenge systems, to reflect collective memory, and to shape new futures. As Aune walked me through the latest installations, the museum felt like what every city deserves — a space that not only reflects its people but grows with them.

To learn more or to plan a visit, explore urban-nation.com.

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The post URBAN NATION: Where Pop Culture Meets Public Dialogue first appeared on street art united states.
by Sami Wakim via street art united states

URBAN NATION: Where Pop Culture Meets Public Dialogue

In the heart of Berlin, tucked between the murals and vibrancy of Bülowstraße, lies the URBAN NATION Museum — a powerful institution dedicated not only to Urban Contemporary Art, but to using it as a catalyst for social dialogue, education, and community-building. Founded in 2013 as an initiative of Stiftung Berliner Leben (Living in Berlin), URBAN NATION exists at the intersection of public housing, visual culture, and creative activism.

I was recently invited by Aune Tette, one of the passionate voices behind URBAN NATION, for a private tour of the museum. Between the arresting visuals of murals, installations, and graffiti-style writings, I had the opportunity to sit down with Aune to learn more about the museum’s philosophy and future direction.

At its core, URBAN NATION’s mission is to inspire generations to think and live Urban Contemporary Art as an artistic solution to urban development. It’s a vision that reimagines the museum not merely as a site for spectatorship but as a community engine — a cultural space grounded in participation, representation, and visibility.

When asked what sets URBAN NATION apart from traditional art institutions, Aune shared, “We don’t see art as passive observation here. This is a living, breathing space where art emerges from — and returns to — the streets. Our exhibitions reflect that; they engage with communities, young people, marginalized voices, and invite them to co-author narratives.”

The museum’s understanding of Urban Contemporary Art is rooted in a rich tapestry of influences — from the pop-art legacy of Warhol and Lichtenstein to the explosive energy of Basquiat, Haring, and countless anonymous street artists. It embraces the visual language of everyday life: advertising, caricatures, comic books, political satire, and underground expression. It resists commercialization even as it critiques it. Most importantly, it recognizes the power of images — both in their potential to manipulate and to liberate.

Aune highlighted URBAN NATION’s flagship programs, including Fresh A.I.R., the artist-in-residence initiative offering free studio space in Berlin to artists who engage with local communities through socially-oriented projects. There’s also the Hip Hop Hub, an outreach project using music, dance, and DJing to empower Berlin’s youth through creative self-expression. And in its dedication to preservation, the Martha Cooper Library stands as one of the most significant archives for graffiti, street photography, and urban visual culture.

But perhaps most compelling is URBAN NATION’s educational mission: to teach visitors to decode the world around them. In a society saturated with images — some persuasive, some deceptive — the museum sees visual literacy as essential. Through dialogical tours, workshops, lectures, and digital offerings, URBAN NATION promotes ‘learning to see’ not just as a form of artistic appreciation, but as a form of critical resistance.

Looking ahead, Aune shared that the museum is working on expanding its digital footprint: “We’re planning to make a larger portion of our library and collection publicly accessible online. It’s about democratizing access to culture and empowering more people to engage with it deeply.”

The URBAN NATION Museum is more than a celebration of urban aesthetics — it is an evolving experiment in civic imagination. It embraces the power of art to challenge systems, to reflect collective memory, and to shape new futures. As Aune walked me through the latest installations, the museum felt like what every city deserves — a space that not only reflects its people but grows with them.

To learn more or to plan a visit, explore urban-nation.com.

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The post URBAN NATION: Where Pop Culture Meets Public Dialogue first appeared on street art united states.
by Sami Wakim via street art united states

Under Occupied Skies: A Journey Theroux the Settlements

Louis Theroux returns to the West Bank probing the rise of far‑right Israeli settler ideology amid the backdrop of the Gaza war. He embeds himself with extremist figures, including “godmother” settler Daniella Weiss and an armed Texan settler, using his calm, faux‑naïve approach to draw out stark admissions. One settler, openly clutching a rifle, declares Palestinians a “death cult,” while Weiss speaks of plans to resettle Gaza with some 800 families.

Filming alongside Palestinian activist Issa Amro in Hebron, Theroux witnesses the daily reality of military checkpoints, restricted access to olive groves, and the impact of settler expansion on Palestinian communities.

Despite airing on BBC in late April , the documentary was abruptly removed after protests by settler advocates highlighting its “chilling” portrayal of ultra‑nationalist ideology. Critics applauded Theroux’s shift to a more confrontational “perpetrator‑focused” method, emphasizing how rare it is to let extremists speak with such openness and letting viewers assess the implications . This raw yet essential hour underscores the intensifying settler movement—now numbering over 700,000 in the West Bank—and the alarming surge in violence and displacement since October 7, 2023.

The post Under Occupied Skies: A Journey Theroux the Settlements first appeared on street art united states.
by Sami Wakim via street art united states

Under Occupied Skies: A Journey Theroux the Settlements

Louis Theroux returns to the West Bank probing the rise of far‑right Israeli settler ideology amid the backdrop of the Gaza war. He embeds himself with extremist figures, including “godmother” settler Daniella Weiss and an armed Texan settler, using his calm, faux‑naïve approach to draw out stark admissions. One settler, openly clutching a rifle, declares Palestinians a “death cult,” while Weiss speaks of plans to resettle Gaza with some 800 families.

Filming alongside Palestinian activist Issa Amro in Hebron, Theroux witnesses the daily reality of military checkpoints, restricted access to olive groves, and the impact of settler expansion on Palestinian communities.

Despite airing on BBC in late April , the documentary was abruptly removed after protests by settler advocates highlighting its “chilling” portrayal of ultra‑nationalist ideology. Critics applauded Theroux’s shift to a more confrontational “perpetrator‑focused” method, emphasizing how rare it is to let extremists speak with such openness and letting viewers assess the implications . This raw yet essential hour underscores the intensifying settler movement—now numbering over 700,000 in the West Bank—and the alarming surge in violence and displacement since October 7, 2023.

The post Under Occupied Skies: A Journey Theroux the Settlements first appeared on street art united states.
by Sami Wakim via street art united states

Chants Are Not the Crime — Genocide Is

In recent months, Western leaders and media outlets have erupted in outrage — not at the mass killing of Palestinian civilians, not at the leveling of entire neighborhoods in Gaza, and not at the starvation used as a weapon of war — but at musicians daring to say “Free Palestine” or chant “Death to IDF” on stage.

Bands have been canceled, statements denounced, tours threatened — all for daring to speak, to sing, or to rage in solidarity with a people being systematically destroyed. Yet the same voices condemning these artists remain conspicuously silent about the Israeli government’s unrelenting campaign of destruction in Palestine. Over the past two years, Israel’s war machine has inflicted a scale of violence that human rights organizations, legal scholars, and global observers increasingly describe as genocidal. Entire families erased. Hospitals bombed. Children killed by the thousands. But somehow, it is the artists who are seen as the problem.

This grotesque inversion of priorities reveals not only the moral cowardice of Western powers, but also their deep complicity. Censorship of art has always been a tactic of control — a way to police public imagination and smother dissent. By silencing the musicians, filmmakers, poets, and protesters, the powerful hope to erase the truth and preserve the illusion of righteousness.

They blame the artists and activists — not the governments dropping bombs, not the corporations fueling climate collapse, not the regimes enforcing apartheid. Whether it’s the death spiral of capitalist greed or the slow suffocation of an entire people under occupation, it is never the system itself that is on trial. It’s the ones daring to scream about it.

But music, like protest, is not the disease — it is the symptom. A healthy world does not give rise to art filled with grief, fury, or desperation. Artists are not the danger. We are mirrors, echo chambers, warning signals. We document the collapse, and in doing so, we become targets.

What kind of world condemns chants more fiercely than child murder? What kind of society can stomach the sight of mass graves but trembles at a slogan shouted from a stage? It is a strange and deeply broken world — one where truth is punished, and silence is rewarded.

History will not remember the scolding op-eds or the canceled shows. It will remember the slaughter, and it will ask: Who spoke? Who sang? Who stayed silent?

And who tried to silence those who dared to speak?

The post Chants Are Not the Crime — Genocide Is first appeared on street art united states.
by Sami Wakim via street art united states

Chants Are Not the Crime — Genocide Is

In recent months, Western leaders and media outlets have erupted in outrage — not at the mass killing of Palestinian civilians, not at the leveling of entire neighborhoods in Gaza, and not at the starvation used as a weapon of war — but at musicians daring to say “Free Palestine” or chant “Death to IDF” on stage.

Bands have been canceled, statements denounced, tours threatened — all for daring to speak, to sing, or to rage in solidarity with a people being systematically destroyed. Yet the same voices condemning these artists remain conspicuously silent about the Israeli government’s unrelenting campaign of destruction in Palestine. Over the past two years, Israel’s war machine has inflicted a scale of violence that human rights organizations, legal scholars, and global observers increasingly describe as genocidal. Entire families erased. Hospitals bombed. Children killed by the thousands. But somehow, it is the artists who are seen as the problem.

This grotesque inversion of priorities reveals not only the moral cowardice of Western powers, but also their deep complicity. Censorship of art has always been a tactic of control — a way to police public imagination and smother dissent. By silencing the musicians, filmmakers, poets, and protesters, the powerful hope to erase the truth and preserve the illusion of righteousness.

They blame the artists and activists — not the governments dropping bombs, not the corporations fueling climate collapse, not the regimes enforcing apartheid. Whether it’s the death spiral of capitalist greed or the slow suffocation of an entire people under occupation, it is never the system itself that is on trial. It’s the ones daring to scream about it.

But music, like protest, is not the disease — it is the symptom. A healthy world does not give rise to art filled with grief, fury, or desperation. Artists are not the danger. We are mirrors, echo chambers, warning signals. We document the collapse, and in doing so, we become targets.

What kind of world condemns chants more fiercely than child murder? What kind of society can stomach the sight of mass graves but trembles at a slogan shouted from a stage? It is a strange and deeply broken world — one where truth is punished, and silence is rewarded.

History will not remember the scolding op-eds or the canceled shows. It will remember the slaughter, and it will ask: Who spoke? Who sang? Who stayed silent?

And who tried to silence those who dared to speak?

The post Chants Are Not the Crime — Genocide Is first appeared on street art united states.
by Sami Wakim via street art united states

Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance

Irish Rap Group Joins Forces with Artists and Activists to Demand Justice for Palestine.

In a bold act of solidarity and resistance, Irish rap trio Kneecap is releasing a short film addressing the ongoing genocide in Gaza, timed to coincide with their much-anticipated performance at Glastonbury Festival. The film, titled “See it, Say it, Censored,” went live online and across social media platforms at 6 p.m. on Thursday, amplifying an urgent call for justice and accountability.

The film is an uncompromising artistic collaboration featuring visual artists, musicians, filmmakers, producers, and activists. Together, they shed light on the staggering human toll of Israel’s military campaign in Gaza and the global complicity that allows it to continue. Interwoven with artistic interpretations are testimonies from doctors and activists on the ground, offering a chilling view of the crisis—one rarely seen in mainstream coverage.

“Kneecap will not stay silent while Western governments are complicit in genocide. They have made us a target. But they cannot target us all.”
– Kneecap

Drawing on internationally credible sources such as Amnesty International, Human Rights Watch, The Lancet, and multiple UN agencies, the film meticulously builds a legal and moral case for genocide. Yet, it goes further than documenting atrocities—it also calls out the role of Western governments in sustaining the violence through arms sales, diplomatic cover, and media distortion.

“This film was a way to cut through the noise,” says Will Child, artist and co-director of the film. “Artists like Kneecap face an uphill battle just to speak out. We have to act together to amplify the message.”

Despite increasing efforts to silence pro-Palestinian voices, Kneecap’s stance has only grown more resolute. With “See it, Say it, Censored,” they join a long legacy of artists who refuse to look away. Their message is clear: Silence is death. And in a time of mass censorship and political pressure, using the stage to speak truth is not only courageous—it’s necessary.

This project offers not only empathy, but concrete resources and actions for those ready to stand with Palestine. It challenges audiences not just to feel, but to act.

As Kneecap takes the stage at Glastonbury, their film ensures their message reverberates far beyond the festival grounds—into homes, devices, and hearts around the world.

For more information or to access the film, contact: info@charlottepyatt.co.uk

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Website: https://stopthegenocide.info/

The post Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance first appeared on street art united states.
by Sami Wakim via street art united states

Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance

Irish Rap Group Joins Forces with Artists and Activists to Demand Justice for Palestine.

In a bold act of solidarity and resistance, Irish rap trio Kneecap is releasing a short film addressing the ongoing genocide in Gaza, timed to coincide with their much-anticipated performance at Glastonbury Festival. The film, titled “See it, Say it, Censored,” went live online and across social media platforms at 6 p.m. on Thursday, amplifying an urgent call for justice and accountability.

The film is an uncompromising artistic collaboration featuring visual artists, musicians, filmmakers, producers, and activists. Together, they shed light on the staggering human toll of Israel’s military campaign in Gaza and the global complicity that allows it to continue. Interwoven with artistic interpretations are testimonies from doctors and activists on the ground, offering a chilling view of the crisis—one rarely seen in mainstream coverage.

“Kneecap will not stay silent while Western governments are complicit in genocide. They have made us a target. But they cannot target us all.”
– Kneecap

Drawing on internationally credible sources such as Amnesty International, Human Rights Watch, The Lancet, and multiple UN agencies, the film meticulously builds a legal and moral case for genocide. Yet, it goes further than documenting atrocities—it also calls out the role of Western governments in sustaining the violence through arms sales, diplomatic cover, and media distortion.

“This film was a way to cut through the noise,” says Will Child, artist and co-director of the film. “Artists like Kneecap face an uphill battle just to speak out. We have to act together to amplify the message.”

Despite increasing efforts to silence pro-Palestinian voices, Kneecap’s stance has only grown more resolute. With “See it, Say it, Censored,” they join a long legacy of artists who refuse to look away. Their message is clear: Silence is death. And in a time of mass censorship and political pressure, using the stage to speak truth is not only courageous—it’s necessary.

This project offers not only empathy, but concrete resources and actions for those ready to stand with Palestine. It challenges audiences not just to feel, but to act.

As Kneecap takes the stage at Glastonbury, their film ensures their message reverberates far beyond the festival grounds—into homes, devices, and hearts around the world.

For more information or to access the film, contact: info@charlottepyatt.co.uk

---

Website: https://stopthegenocide.info/

The post Kneecap Releases Powerful Film on Gaza Ahead of Glastonbury Performance first appeared on street art united states.
by Sami Wakim via street art united states

Layers of Meaning: SPEAR and TELMO Unveil Powerful New Murals for ‘Out in the Open’ in Aalborg, Denmark

The Danish city of Aalborg continues its transformation into a vibrant canvas of ideas and stories with the 12th year of KIRK Gallery‘s Out in the Open, the renowned public art program that brings muralists from around the world to the city’s walls. This year, two striking new works by Belgian artist SPEAR and Dutch artist TELMO offer distinct, yet deeply interconnected reflections on community, history, and the power of perspective.

TELMO | Tilsammen – A Visual Marriage of Fragments
Dutch artist TELMO—best known as one half of the internationally acclaimed duo TELMO MIEL—presents Tilsammen, a work that quite literally translates to “to together.” In this evocative mural, the artist explores the concept of unity through visual layering: fragments that initially appear disconnected gradually coalesce into a cohesive whole.

TELMO’s approach leans into abstraction, yet maintains a human warmth, encouraging viewers to peel back visual layers and discover unexpected harmonies. The mural invites contemplation of how disparate elements—whether images, people, or ideas—can come together in beautiful, surreal unison. “Going towards being together,” as the artist himself puts it.

For over a decade, TELMO has honed a style that fuses surrealism with hyper-realistic detail. His recent solo work deepens that vision, using collage-like compositions to present overlapping realities that challenge viewers to reimagine the familiar. Tilsammen continues this evolution, offering an emotionally resonant exploration of connection in a fragmented world.

SPEAR | From Tithe to Taxes – Reframing History Through Art
A few blocks away, Belgian artist SPEAR brings history into sharp focus with From Tithe to Taxes, a mural painted directly onto Tiendeladen—an old tithe barn where, centuries ago, farmers paid taxes to the church in the form of crops. This work is both homage and critique, drawing a direct line from historical systems of taxation to contemporary questions of trust, transparency, and public good.

SPEAR’s mural is a dual composition, with each half serving as a visual metaphor. One side depicts a hand stealing grain from an almost empty sack beneath wilting flowers—a grim portrayal of corruption and misuse of public resources. In contrast, the other side offers a transparent jar overflowing with grain and surrounded by blooming flowers, a hopeful image of openness and responsible governance.

“This mural is a commentary on the ambiguous nature of taxation,” SPEAR explains. “It can either nourish a thriving democracy or erode trust through misuse. Just as the Tiendeladen bridges centuries of history, my painting technique bridges classical art traditions with present-day concerns.”

Known for blending classical painting techniques with urban textures, SPEAR’s work consistently engages in a dialogue between past and present. From Tithe to Taxes is no exception—its allegorical power lies in its ability to reactivate historical spaces as sites of reflection, conversation, and civic engagement.

A Dialogue on the Wall
Together, these two murals encapsulate what Out in the Open does best: transforming public walls into spaces of meaning, conversation, and beauty. Where TELMO’s Tilsammen speaks to the importance of connection and unity through a poetic abstraction of reality, SPEAR’s From Tithe to Taxes delivers a bold, historically grounded commentary on governance and collective responsibility.

Both artists challenge viewers to engage not just with the art, but with the layered stories behind them. In doing so, they remind us that public art is more than decoration—it’s a living, breathing conversation with the world around us.

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The post Layers of Meaning: SPEAR and TELMO Unveil Powerful New Murals for ‘Out in the Open’ in Aalborg, Denmark first appeared on street art united states.
by Sami Wakim via street art united states