Renowned as an international artist, muralist, and award-winning filmmaker, Knight captivates audiences with his vibrant pop and street art style

During his teens, Tysen Knight expressed his artistic vision through street art, adorning walls and vacant buildings with his creations. His journey began with hands-on experiences, drawing cartoons and airbrushing designs onto denim, even crafting business logos. Never far from paint and a brush, his vibrant street art has gotten him noticed and his documentary films have achieved awards and accolades around the world.

Beyond his artistic endeavors, Knight’s heart beats with compassion. He looks outward to lend a helping hand to organizations serving the underserved in his community and beyond. He spearheads The Tysen Knight Scholarship Fund, offering young talents the opportunity to pursue art without financial barriers. Partnering with RCOE (Riverside County Office of Education), Tysen initiated a program in California, utilizing his street art brand to mentor at-risk youth, fostering self-expression and creativity.

It was this blend of filmmaking and art that brought attention to my work and helped elevate my career. My first film was shown at the American Documentary Film Festival in 2019, a local documentary festival in Palm Springs, separate from the Palm Springs International Film Festival. One of the biggest turning points for me was when the President of the Palm Springs Public Art Commission saw my film at that festival and reached out, leading to a major contract with the city. The film really opened the arts world to me. And it’s been a roller coaster ride ever since. Everything just took off.

ABN: One of the key things this highlights is the power of storytelling. Whether you’re talking about yourself as an artist or discussing the art you create, it’s really the story that resonates with people. It doesn’t matter what the subject is—whether it’s art or something else entirely.

In the art world, and I think you’ve heard me say this before, it’s the artist’s story that matters most. It’s about the connection between the artist and the audience. Yes, people like the art itself, but what truly motivates them to bring it into their home, office, or personal space is the connection they feel with the artist and the story behind the work. They see the art as a keepsake of their experience, of learning about the artist and becoming engaged with their journey. I think that’s what you’re really getting at, and it’s a fantastic example.

I also love the film side of what you do, and we’ll dive deeper into that in a bit. But before we do, let’s talk about your art. I know your work well, and I would say it falls into the category of outsider art—street art, urban art, maybe even pop art, depending on how you’d choose to define it. What are your thoughts on that? What art inspires you? What do you most identify with?

Knight: My style leans more towards street art and pop art. I’m inspired by creativity in all its forms. I just love seeing people be creative—it really fuels me. I’m inspired by music, dance, ballet, anything within the realm of art, even beyond visual art. It’s hard to pinpoint one specific thing because I draw inspiration from so many areas.

ABN: It sounds like the success of Homeless Street Artists took you by surprise in the best way possible! The initial response from film festivals was just the beginning, and it’s amazing how the film has experienced a resurgence of interest and acclaim years after its release. It’s great to hear that it’s been such a rewarding and unexpected journey. Watching it unfold must be incredibly gratifying, especially given the initial challenges and the time it took for the film to gain momentum.

Knight: Suddenly, I started receiving a flood of emails from various film festivals expressing interest in my film. They were inviting me to submit it to their festivals. I sent it to one festival, and it won an award. That recognition opened the floodgates, and I found myself in disbelief as the congratulations poured in. It was surreal.

From 2019 to 2020, the film won a few awards, but from 2021 to 2023, it seemed to be in a standstill, with no significant movement. Then, out of nowhere, the film experienced a remarkable resurgence. It took off in a way I never expected and watching this unfold has been incredible. I had no idea this would happen years after the film’s initial release, and it’s been truly amazing.

ABN: And so are you seeing the same synergy now with this film? I watched it. It’s really good. And by the way, is Skratch still around? Is he still in the Valley, still doing his thing?

Knight: Yes, Skratch is still around. I’ve seen him a few times since then. We teamed up with an organization called the Street Life Project, which helps him with meals and other support. Although he has access to shelter and resources, he seems to really value his freedom and prefers to live on his own terms. We’ve set everything up so that he can take advantage of the support if he chooses, but the decision is ultimately his.

Skratch is an extraordinary individual. He’s incredibly well-spoken and always maintains a positive attitude. I have a memorable story from 2019: when I screened Homeless Street Artists at the AM Docs Film Festival, Skratch joined me for the event. After the film, I was so overwhelmed with emotion that I struggled to manage the Q&A session. Skratch stepped in, engaged with the audience, and fielded their questions with remarkable ease. It was an amazing moment, and I felt like he saved me once again. His ability to handle that situation with grace and eloquence was truly inspiring. He’s just an incredible person.

ABN: Love it that he’s still making his art. Some of his mixed media compositions are very Picassoesque and compelling, drawing the viewer in to learn more. Here’s the question—has the notoriety and exposure of this film impacted your art career?

Knight: It’s impact has been more from a human perspective. I believe what people are drawn to is not just my art but my essence as an individual. While my art certainly connects with people, it’s the personal side of me that truly resonates. This experience has transformed me as an artist, instilling in me a deep sense of humility. I feel honored by the opportunities that have come my way and wake up each day grateful for the gift I’ve been given.

It’s important to share this gift with others, remaining humble, respectful, and kind. People want to connect with the artist behind the work and feel a part of the creative process. When they do, the art gains even more meaning, as it carries with it a compelling story and a personal connection that makes it even more special in their homes.

Looking back to when I first started in the business, I wasn’t quite sure what my mission was or where I was headed. But now, I feel incredibly blessed to have found my purpose. Everything feels aligned, and I have a clear sense of where my art fits in the world and what I need to do with it. It’s a wonderful feeling to have that clarity and balance.

ABN: Leading right into the next question: what’s your current plan and agenda? What have you got going on and what’s the plan for 2025?

Knight: Here’s the plan: I’ve just opened my new studio and am partnering with an organization in the desert called Variety, The Children’s Charity of the Desert. We’re setting up free art classes for kids right here in my studio.

Additionally, I’m working on another film project with my son. He’s a young filmmaker who has been creating a documentary about me. He’s interviewed my family, including my mom and dad, and unearthed old photos to dive into my personal story. This documentary, titled The Tysen Knight Experience: The Art of Manifestation and Purpose, is set to release in 2025. It’s been an incredible journey documenting my life with my son and family, and I’m excited to share it with you when it’s ready.

Looking ahead to 2025, I’m planning more art classes, traveling, and community work. I just returned from Belize, where I was working with children, and I have several mural projects in the works. It’s shaping up to be a fantastic year, and I’m really looking forward to it.

ABN: We’d love to see the film when it’s ready! You’ve always approached things with genuine care, appreciation, and a core belief in abundance, and it’s clear that those values have served you well. Congratulations on all your success. It’s been wonderful catching up with you today. Thank you so much!

Tysen Knight website: https://www.tysenknight.com

Street Art film: https://www.youtube.com/watch?v=KeK9MFmKjWE

Homeless Street Artist film: https://www.youtube.com/watch?v=Zd0ZSaxxn_M

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As enjoyable as murals are meant to be for the viewer, lurking behind the scenes is a complex legal framework that governs the ownership, production, maintenance, and protection of murals as one-of-a-kind pieces of art and as investments in the property. The best way to protect both the muralist creating the art and the property owner commissioning it is to discuss the terms of engagement at the start and enter into a written agreement memorializing the parties’ understanding before the work begins. Having an experienced attorney draft the contract couldn’t hurt either.

So, what should a contract between a muralist and a property owner say? Here are a few of the questions to discuss and seek answers to.

Who Owns the Copyright to a Mural?

Copyright, in its most elementary form, means “right to make copies,” so understanding who will own the copyright to the image embodied in the mural is critical to the commissioning process. Hiring a muralist to paint an image on the outside of a building doesn’t automatically grant the property owner the right to replicate that image on T-shirts, posters, advertisements, or other commercial products. The “right to copy” that image is owned by the creator of the image unless the creator transfers that right in writing to the property owner. The owner of the copyright decides which permissions, if any, to grant to others, and for how long, in the form of a license.

After determining which party will own the copyright to the mural image, it’s always a good idea (though not required) to register the artwork with the U.S. Copyright Office and include a copyright notice on the mural itself — typically the copyright symbol (©), followed by the owner’s name and year of creation. Registration with the Copyright Office grants certain benefits to the copyright holder in cases of infringement, including access to federal courts, statutory damages, and recovery of attorney’s fees. The copyright registration fee is generally worth the price of admission.

What Licenses Are Needed for a Mural?

If the contract commissioning the mural states that the artist will create and own the copyright to the image, then the property owner should seek a license from the creator to replicate the image however they intend it to be used. The scope of a license can be broadly or narrowly defined, so long as the permissions granted are clear. For example, if a restaurant owner commissions a mural and wants to replicate it on their website, menus and staff uniforms, the restaurant must negotiate a license for those uses in the contract. A licensing agreement can also explicitly deny certain permissions, such as restricting the property owner from using the image for political causes or campaigns. Failure to clearly state and abide by a license’s scope of use can give rise to costly breach of contract claims and copyright infringement, so it’s important for both the muralist and property owner to determine authorized and unauthorized uses during the contract negotiation phase.

In a different scenario, if the contract for the mural states that the property owner will own the copyright to the image, then the artist may want to consider negotiating a limited license for themselves. As an artist’s work history forms their professional résumé, having permission from the copyright holder to showcase the commissioned work online and in the artist’s marketing materials can prove to be a valuable proposition. A license is especially important for the artist when the mural incorporates another business’s trademark.

Additionally, if the mural contains any references borrowed from other creators, such as images, styles, characters, names, or logos belonging to someone else, then whoever furnishes that reference must determine if a license is necessary to use it. Consider, for example, a mural replicating a photograph of a real-life person. In that case, two licenses may be required: one from the person whose likeness appears in the image and one from the person who owns the copyright to the photo. Some rights holders choose to be more aggressive than others when it comes to policing the use of their copyrights and trademarks, so copying or incorporating others’ works without their permission can be a costly risk for both the artist and the property owner. The contract commissioning the mural should state who is responsible for acquiring and paying for third-party licenses, if any are needed.

How Are Muralists Compensated for Their Work?

A contract between a muralist and a property owner should consider not only the overall fee for services, but also the timeline for payment of the fee. Oftentimes the fee will be paid in installments as certain benchmarks are met. For example, a property owner might agree in the contract to pay the artist 25% of the negotiated fee upfront to begin the design work, 25% after the design is approved, 25% after the image is outlined on the building, and 25% upon completion of the mural. Sometimes the fee schedule is simply half up front and half at the end. Whatever the payment provisions are, they should be clear enough for both parties to follow and enforce as the mural gets underway.

Who Maintains the Mural Over Time?

A contract commissioning a mural should state exactly how long the property owner is required to keep, protect and maintain the mural. After all, at some point, the property owner may want to repair it, paint over it or replace it with something new, so the duration or “term” of the maintenance period should be part of the negotiation.

Setting aside natural wear and tear, especially to outdoor murals, a property owner is expected to keep the mural intact for the duration of the term and actively protect it from avoidable destruction. In 1990, Congress passed the Visual Artists Rights Act (“VARA”), a law amending the copyright code, to help visual artists better protect themselves against the unauthorized modification, distortion, or mutilation of their works. In practice, VARA serves as an incentive for property owners to negotiate their own terms regarding the protection and maintenance of the mural in their contract with the artist.

Determining a mural maintenance system requires careful consideration in the contract. A muralist may have an interest in preserving the integrity of their art by requiring the exclusive right to restore it themselves (think images of the infamous botched restoration of the Spanish Ecce Homo Jesus fresco). Meanwhile, the property owner has an interest in protecting their investment in the mural, which may include regular touch-ups from the original artist. At the same time, an artist cannot be expected to tend to every mural they’ve ever created, indefinitely. Whether the artist commits to maintenance for the next few years, reserves the right of first refusal to service the mural or allocates all maintenance rights to the property owner, the most important thing is that the parties agree on a plan to preserve the mural during the term.

The above questions represent a small sample of the many questions a contract commissioning a mural should cover. Every contract is unique and informed by the specific needs, past experiences, and professional counsel of each party.

When executed well, a mural can turn a blighted eyesore into a shining crown jewel overnight and inspire a domino effect that transforms the neighborhood around it, too. That’s the beauty and power of art. With a bit of advanced planning, public art and mural installations can remain a viable, enjoyable experience for everyone — the artist, the property owner, and the community.

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Beth Moore is of counsel in Arnall Golden Gregory LLP’s Atlanta office and co-chair of the Entertainment & Sports industry team. She can be contacted at beth.moore@agg.com.

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You can walk into the atelier at any (almost) moment and watch the artists at work. The house at 59 Rivoli is open to the public 7 days a week, 24 hours a day-an extremely rare occurrence in Paris! And it’s absolutely free, and you can take lots of unusual Parisian photos here.

The artists will be very happy if you buy something from them — a painting, a sculpture, a piece of work, or leave some money in the common piggy bank.

Other centers of contemporary art in the French capital are near the Pompidou Center. And there, it’s definitely art. Sometimes there are also exhibitions of graffiti artists in private galleries. For example, in 2019-2020, Espace Lafayette-Drouot exhibited a collection of reproductions by Banksy.
But today we have prepared for you a whole amazing walk through the streets of Paris to get you closer to its street art.

Walks in Paris

We offer an itinerary in Paris, during which you can discover a city unfamiliar to most people — the “people’s” Paris with its street art.

The route passes through 4 districts — the 10th, 11th, 19th, and 20th — and is designed for 3.5 hours.
The 19th and 20th arrondissements are the birthplace of Parisian street art. Its various forms (mosaics, graffiti, stencils, murals…) can be found on every corner. If you do not have much time, you can confine yourself to the Seine quays (between Quai de l’Oise and Quai Valmy) or the quarters of Belleville and Buttes Chaumont.
Either way, this unusual walk through the former working-class neighborhoods will be a unique opportunity to appreciate street art.

STEP 1: THE CORENTIN CARIOU SUBWAY

We will start at the intersection of the Gironde and Oise quays, next to the Corentin Cariou metro station (line 7). To get to the embankment, from the subway you need to walk along Rue Rouvet. Passing the Promenade Ouaz, you will see walls with graffiti. The supports of bridges often serve as material for street artists. Graffiti and stenciling decorate the walls along the waterfront. If you walk along the waterfront on a Thursday or Sunday morning, you can experience the Joinville Market at the intersection of Joinville and Jomard streets. The market is open Thursdays and Sundays from 7a.m. to 2:30 p.m.

STEP 2: QUAI DE SEINE

There isn’t much street art from the Seine Quai to Place de la Rotonde, but you can see the many ships and barges moored to the shore. This neighborhood was redeveloped in the late ’90s and has become more welcoming and dynamic. In the summer beaches along the promenade are laid out. MK2 cinemas are located on both banks.

STEP 3: QUAI VALMY

Take a walk along the Saint Martin canal toward the Parc de la Villette. This is already the 19th arrondissement, a disadvantaged and cheap place to live in Paris. During your walk, you are sure to see graffiti. Unfortunately (or fortunately!), this neighborhood is now being rebuilt, with old housing being torn down to build new buildings. The graffiti is disappearing with them.
The start of the Valmy promenade at the corner of La Rue Lafayette marks the return of street art to Le Canal Saint Martin. Le Point éphémère and le Café éphémère have contributed greatly to the development of street art on this part of the canal. The high wall at the beginning of the Valmy promenade is worth a look – a mural by Goldorak in stencil technique. Goldorak is a famous robot from the pop manga of the 1980s.
The walls near the Ephemeral Café are all decorated with street art of various styles and forms. On the Quai de Jemmapes (on the other side of the canal), you’ll see Spaces Invaders icons, some in unexpected places, like the walls of public toilets. On the other side of the waterfront is one of the last remaining industrial buildings, the Clairefontaine-Egzacont factory. A little further on, don’t forget to stop in front of the famous wall adorned with graffiti.

STEP 4: LE FAUBOURG DU TEMPLE

Take the Rue du Faubourg du Temple up to the Belleville Metro station. For the shopping lovers, the boutiques in this street are also open on Sundays. Stroll the streets hidden in the depths, away from the tourist routes, and uncover the gems of contemporary art. In front of the entrance to the Cour de Bretagne you’ll see several frescoes, collages and graffiti. Walk in front of the Palais de Glaces, the famous Parisian theater where comedies are played every night. Continue along Rue du Faubourg du Temple to the famous Chinese restaurant Le Président, frequented by Presidents François Mitterrand and Jacques Chirac. This is the starting point of the Belleville Cosmopolitan district.

STEP 5: RUE DENOYEZ

Then walk up Rue Belleville to café Les folies and visit Rue Denoyez, the street of Parisian street art. This is the symbol of street art: the walls here are completely painted with graffiti and trafferet. Street artists are constantly bringing something new and remaking the old in the works on the walls of Rue Denoieu. There are also numerous art galleries located here.
After looking at the works on Denoieu and Lemon Street, return to Rue Belleville and walk to the intersection with Rue Julien Lacroix. Here you will see a large mural of a detective and a wall showing a worker in the process of painting a wall.

STEP 6 (LAST): LES BUTTES CHAUMONT

Go further down Rue Belleville and turn to Rue Rebeval, then to Rue de l’Equerre. Near the steps, you will see an icon of a space invader and a collage. Go up the steps of the street and turn left on Avenue Simon Bolivar (l’avenue Simon Bolivar), reach the park of Butte Chaumont.
In the park, along L’avenue Jacques de Liniers, you’ll climb to the top of the Butte Chaumont and see a magnificent view of Paris and the Basilica of the Sacré Coeur.
On your way back, take the circular road du Lac to l’avenue de la Grotte, continue on l’avenue JC Cave. Near the middle of this avenue, you will find old railroad tracks, known as the “mysterious way”. Along these abandoned tracks you can see a lot of graffiti.

CONCLUSION

We should not forget that Paris is not just a city of aristocrats. It is also the city of artists, writers, and other bohemians. A century ago, Picasso and Modigliani paid for their paintings to hang in cafes, and now their works hang in museums. Perhaps today’s artists will also find recognition at the next turn of the century.

Author’s bio: Jean Hartley is a professional content writer for CustomWriting service. She will help you to prepare an overview, report, essay, or another paper. Jean will make you amazed with the final interesting content or any other you may have for writing.

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Some artists focused on the eerie silence left behind by the intense lockdowns from March to June, while others tried to find ways to spread hope, motivation, and courage even in this bleak time. Unsurprisingly, many graffiti and street artists have incorporated COVID-19 themes into their work this past year.

As the virus is under some control, and lockdowns are gradually being lifted across the world, people have started stepping outside with precautionary measures. Muralists are taking this as an opportunity to utilize public places to showcase art and spread awareness. Toilet papers, face masks, and disinfectants are some of the common subjects of street artists. However, others are emphasizing boosting immunity, enhancing will power, and staying fit.

Here, we share with you some of the most creative COVID-19 themed art adorning cities all over the world. These contributions are popping up with each passing day as artists are becoming more and more involved. Some well-known murals related to COVID-19 are:

The gratitude, dedication, and support provided by healthcare professionals during the COVID-19 crisis are the most common subjects in street art. One graffiti artist in London did a commendable job highlighting the contribution of doctors during the pandemic. In the mural picturized above, the artists paid homage to junior doctors.

He specifically highlighted the contributions of resident doctors because they are constantly putting their lives at risk, work more, and are paid less in comparison to the senior physicians. However, they are still working day and night with full enthusiasm. An artwork specially dedicated to the resident staff boosts their morale and show them that their contributions are appreciated.

At a time when street artists were focusing on common pandemic related themes, Italian street artist Laika took a different step and focused on the restaurant staff. Since eateries are now opening, Laika focused on a Chinese restaurant owner, Sonia, wearing a fully covered gown along with a face mask.

Sonia’s message in Italian translates to “There’s an epidemic of ignorance going around… we must protect ourselves!”The artist tried to give a message that though the restaurants are opening, precautionary measures are still important. People working at the restaurant are equally affected by the pandemic. Thus, they are back to work but at risk and following new operating procedures.

Another great example is seen in Amsterdam, where the famous street artist FAKE painted a nurse with a Superman logo, titled Super Nurse! The nurse is shown wearing a mask, which is a typical representation of COVID-19. What is unusual is that she has the “S” logo of Superman on the front of the nurse’s uniform, reminding everyone that nurses, along with other frontline workers, are the true superheroes. 

The idea is to highlight the exceptional role played by the nursing staff in this condition of turmoil. These nurses are putting their life in danger serving the COVID-19 patients. Not just in the critical care unit, they are also doing the testing. The artwork received great recognition and appreciation globally, and it was selected as a digital art installation in London.

In Germany, another street artist, Uzey, took up his paints to encourage people to stay strong despite the hardships the pandemic has brought. The art shows a fully covered person carrying a pack of COVID-19 germs in his hand. The picture reveals that no matter how covered a person is, the virus is everywhere. Thus, maintaining social distance and practicing isolation is the only safe solution. Various colors used in the artwork are intended to bring some light to the colorless life these days. This street art gives a friendly message to humanity and tries to boost morale.

In Indonesia, a campaign related to COVID-19 murals started in August 2020. This street art in Jakarta quickly gained popularity as it depicts the message very clearly and powerfully. It highlights many things: firstly, it shows that the man is carrying a shield, which is somewhat similar to a mask, and therefore subconsciously, you are made to think that wearing a mask is the best defense against the virus.

Secondly, it brings a message of hope for the masses – it gives strength to the affected individuals for regaining their health. People who are still in a state of fear can also get some motivation from the thought-provoking art. It shows that we can fight and overcome any germ or virus, only if we have the will and if we take the right measures.

Some fans even interpreted the painting with respect to organizations that stood firm to safeguard society. Most notably, healthcare and human service organizations, but also small businesses and individuals initiated small efforts to help their communities from the financial and emotional effects of the pandemic.

For instance, many individuals started campaigns to buy from small businesses in their community to keep them from going out of business. Similarly, small businesses, like cleaning companies, started offering door-to-door and contact-less services for the safety of their clients.

Another street artist drew this painting of a nurse who is covered from head to toe in a gown, gloves, and face mask. She is portrayed as an angel of love with colorful wings. The artist showed how the nurse is ready to go for work. Such contributions for supporting the doctors, nurses, testing professionals, and the janitorial staff seems valuable in this crucial time. These people are the real heroes who are diligently performing their duties in high-risk areas.

Conclusion

In short, COVID-19 murals are brightening the streets across the globe. From humorous and playful styles to more serious and sympathetic themes, street artists have done an excellent job highlighting the issue. From highlighting the importance of healthcare workers to aiming at reviving the mood of infected individuals, each has highlighted the importance of working through the pandemic together.

Along with the artists mentioned here, tons of other artists like Pebsy, Pyritt, AFK, Jesus Cruz, and many others have made valuable contributions. They’ve expressed a collective feeling of fear, rage, and frustration developed during the lockdowns and isolations. And they have also helped us in regaining lost hope.

Thinking out of the box and taking out time in stenciling and painting the walls is a commendable step in uniting the society in this unprecedented time. Was one your favorite?

Author Bio:
Nouman provides ghostwriting and copywriting services. His educational background in the technical field and business studies helps him in tackling topics ranging from career and business productivity to web development and digital marketing. He occasionally writes articles for carpet cleaning. 

The post COVID-19 Murals: Inside the World of Pandemic-Inspired Street Art appeared first on Art Business News.

The popularity of graffiti has even resulted in some street artists being recognized by art institutions, as well as finding success showcasing their work in galleries and in more unconventional locations. Pieces by present-day street art mavens such as KAWS and Banksy have become increasingly in demand, and their success has inspired new artists to consider taking this path. It’s clear to see that graffiti and street art are here to stay and have found their place in today’s culture. Here’s a look at the rise of street art and the future of this vibrant art form.

Street Art Takes Root in NYC

The 80s were an iconic time for unconventional and subversive art in New York City, and creativity was showcased everywhere, from canvases to walls, public spaces and even human bodies. During this decade, tattoo artists Thom De Vita, Brooklyn Blackie, and Tony D’Annessa operated underground tattoo parlors in the city, even after officials banned tattooing. Customers would emerge from their shops sporting various intricate patterns on their body and it inspired other tattoo artists to open secret shops of their own.

Meanwhile, the NYC graffiti scene was also in full bloom, as artists such as Jean-Michel Basquiat and Keith Haring started using public places all over the city to showcase their works. Eventually, the art world began to take notice of their genius. Basquiat’s works were showcased at Annina Nosei’s gallery in Soho, while Haring made sure that the public could easily get their hands on his art by selling shirts and other items featuring his work. Some of haring’s art can be found today at New York’s MOMA and Whitney Museums, while Basquiat’s paintings can be viewed at the Soho Contemporary Art Gallery. And, of course, their works are frequently on display in museum collections around the world.

Street Art as Collectibles 

Today, pieces made by famous street artists have become status symbols among collectors. Banksy’s works are known to fetch millions and are highly sought after by the elite. Just remember when Banksy’s “Girl and Balloon” image made waves and in 2018 when it self-destructed after just being sold for over $1.2 million at Sotheby’s. Meanwhile, Brian Donnelly, known in the art world as KAWS, started out as a graffiti artist in NYC and now has ongoing licensing collaborations with Uniqlo, Dior Homme, and Bounty Hunter. With the latter, Donnelly launched a line of toys that are highly collectible and finding homes with celebrities such as RM and J-Hope of BTS, Pharrell Williams, and Justin Bieber among many.

In today’s art culture, urban art is a new genre developing influenced by elements and inspirations of both graffiti and street art into works more suitable for the home and other interiors. As the new genre of street art becomes more accessible to everyone, it is expected that more street artists will be making their work available for public consumption through collaborations with galleries, museums, and brands that will showcase their work. Though there might be debates about whether street and urban art will have the same impact on a $50 t-shirt as it does on a wall in NYC, it’s evident that it’s an effective way to introduce art to a younger audience as it challenges gatekeeping within the art world. Whether it’s on a brick wall in Brooklyn or displayed at the best museums in the world, street art and it’s new sick-kick urban art, will live on and will remain an important part of today’s art scene.

About the Author: Karoline Gore is a freelance writer, art enthusiast and self-confessed tattoo junkie. When she’s not writing about her favorite tattoo designs, she loves exploring the countryside in her native Maine with her dogs Ralph and Bella.  

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