In February 2026, SPARC (Social and Public Art Resource Center) will return to Jeffrey Deitch to exhibit the latest complete segment in the expansion of The Great Wall of Los Angeles mural, fifty years after its initial production.

Welcome to the latest edition of Nuart Aberdeen. As far as we can ascertain, this will be the first street art festival in the world with a focus primarily on poetry and text-based works. Over the years, for better or worse, the large scale colourful figurative mural has come to dominate the culture we work with, and although it’s an aspect of the culture we support, due to the resources required to produce murals, they’re perhaps also the least democratic form of art on the streets. As curators, researchers and producers working in “festival” culture, we have a responsibility to not only showcase and celebrate the most interesting and technically competent works of our time, but to also ensure the…

It’s been 150 years since Impressionism transformed our world and how we perceive it. On April 15, 1874, a collective of upstarts including Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Berthe Morisot and Paul Cézanne converged on the Paris studio of photographer Félix Nadar for a group show that art critic Louis Leroy sardonically dubbed “The Exhibition of the Impressionists” — a jab at Monet’s “Impression: soleil levant,” the painter’s dreamlike depiction of the port city of Le Havre.

No doubt, there are a lot of mural festivals; in fact, too many, if you ask me. When the senior center starts taking field trips to see cool new graffiti on the walls of your town’s “old town,” the coolness factor of the mural festival has lost much of its… coolness. With the idea generally being to shine a light on your city via large scale art, once a few dozen walls are covered, what’s really left to do? Enter Blink Cincinnati. Instead of taking over a neighborhood and painting some Instagrammable photo-op backdrops, they decided that 40 continuous blocks and a city-wide visual, experiential showcase spanning two states well into the night is the way to make a statement.…

One of the greatest contributions to the art lexicon is treating street art as an active tool in understanding how we use and view public space. It has always been insufficient to simply label it as “street art” or “graffiti” and neglect the broader context in which it can be appreciated on both micro and macro levels. Nuart and the Nuart Festival, alongside curator Martyn Reed from his home base in Stavanger, Norway, have long been interested in how public space is used, who has access to it, and how art can fit into our daily lives in ways that expand our experiences and understanding of the cities we inhabit. It becomes apparent to anyone who has organized a public…

Lots going on in London right now, and in mural news, Shepard Fairey teamed with Migrate Art to create a new work, Rise Above Earth Justice, painted at Anlaby House, Boundary Street, Shoreditch. The project was funded by the Ford Foundation with the support of Ambassador Jane Hartley of the U.S. Embassy in London, and produced by Migrate Art, Charlotte Pyatt and Simon Butler. 

As you know from all your reading on Juxtapoz over the years, FAILE is the name for artist duo Patrick Miller and Patrick McNeil who have collaborated for 25 years. The due, who we had on the Radio Juxtapoz podcast earlier this year, just opened the exhibition at [CONTAINER], FAILE: A Riot of Existence, their first exhibition in Santa Fe, and will celebrate FAILE’s 25th anniversary. Visitors can expect to be transported to a wonderland of color and coolness as FAILE transforms the space in their unique, experiential style.

While researching for this interview, I came across a quote by Yayoi Kusama, “Every time I have had a problem, I have confronted it with the axe of art.” So simply put, this statement perfectly sums up for me the immense power that art holds, its mind opening and altering capabilities. It struck me that this is what the Guerrilla Girls collective have been doing for almost 40 years, using the axe of art their way. With a playful, yet unapologetically direct fierceness, Guerrilla Girls utilize unforgettably bold advertising-style imagery, statistics, and humor, to illuminate not just the discrimination and injustice in the art world itself, but in the wider world. At the time of this interview, the election in…

There is much to be said – and much being said – about the conditions and the state of nature at a moment in history where multiple species face extinction, where lush sceneries turn into wastelands and ice withdraws to its fluid state with unforeseen consequences. This tale of steady, catastrophic evolution seems to hold no place or time for meditation, when action appears to be the only solution. 

We are so happy that our friends and past collaborators in Mexico City have opened Memories of the Underground at their MAIA, CDMX space that celebrates a major turning point in their history as well as street and emerging art as well. In that 2005—2010 window, so much happened to bring new artists to the forefront of contemporary art, whether David Choe, Herbert Baglione, SANER, Miss Van, and the MAIA team were right there bringing Mexico City into the conversation. Read their press release below!