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Semi-Documentary Wild Style Is An Essential Look At The Subculture Of 1980s Hip-Hop

Semi-Documentary Wild Style Is An Essential Look At The Subculture Of 1980s Hip-Hop
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Futura, a king of the aerosol can, returns to his roots

Futura, a king of the aerosol can, returns to his roots The graffiti artist Futura at the Recon, a clothing and collectibles store on the Lower East Side that he co-owned, in New York in 1999. The artist has gone from painting subway cars to the runways of Comme des Garçons — after a hiatus, his two exhibitions are his first in his hometown in 30 years. Chester Higgins Jr./New York Times Photo. by Max Lakin (NYT NEWS SERVICE) .- The week before he turned 65, Futura was contemplating his legacy. Considered one of the progenitors of graffiti art, and one of its most recognizable figures, he was sitting in Eric Firestone Gallery in NoHo, where “Futura 2020,” his first solo exhibition in New York in 30 years, is on view. Across the river, in Queens, his installation at the Noguchi Museum, a suite of hand-painted Akari lanterns, had opened the day before. Futura, who is rangy and was wearing a wool knit cap pulled to just above his eyes and a jacket from his recent collection wi

Futura, a King of Graffiti, Returns to His Roots

Art & Design|Futura, a King of Graffiti, Returns to His Roots https://www.nytimes.com/2020/12/09/arts/design/futura-graffiti-gallery-fashion.html The graffiti artist Futura, born Leonard McGurr, near the Eric Firestone Gallery in Manhattan, where “Futura 2020,” his first solo exhibition in New York in 30 years, is on view.Credit.Celeste Sloman for The New York Times Sections Futura, a King of Graffiti, Returns to His Roots The artist has gone from painting subway cars to the runways of Comme des Garçons. After a hiatus, his two exhibitions are his first in his hometown in 30 years. The graffiti artist Futura, born Leonard McGurr, near the Eric Firestone Gallery in Manhattan, where “Futura 2020,” his first solo exhibition in New York in 30 years, is on view.Credit.Celeste Sloman for The New York Times

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