Iker Muro (MurOne) is an illustrator and graphic designer who began creating public murals in 2002. Born in Bilbao, Spain, Muro describes his work as “an acid mixture of pop culture, graffiti, illustration, and graphic design.” As a youth, he began painting on skateboards and drawing caricatures of teachers and classmates at his desk in the back of the classroom. He went on to complete his studies in graphic design and has worked in many different disciplines including graffiti, graphic design, prints, and large-scale murals.
Muro’s vibrant, bold murals strike a distinctive balance between design and art. His work draws from his extensive international travels, and he takes inspiration from whatever city he is painting in. “Travelling and discovering different cultures is a gift,” he says. “I feel lucky to make my living with what I love, I don’t know what will happen in the future, I don’t have a job and a stable life, but painting and giving life to places that don’t have any is very gratifying.”
For more of his work, also check out his Instagram.
Today’s flashback is to Huma Bhabha‘s spooky figures for Before The End, which was on view until March of this year at Brooklyn Bridge Park. It is just one of the many projects organized by Public Art Fund.
From Public Art Fund about the work-
With the ominous title Before the End, Huma Bhabha (b. 1962, Karachi, Pakistan) sets the stage to evoke mythologies as old as humankind. Conceived for Brooklyn Bridge Park, Bhabha’s four monumental painted and patinated bronzes were cast from carved cork and skull fragments. The mysterious figures recall ancient effigies cut into tombstones, their surfaces evoking centuries of eroded sediment and stone. Yet, unlike a tomb, these four-sided vertical forms stand elevated above the earth, their bones open to the sky.
“Before the End” is a title borrowed from the writings of Vincent of Beauvais (ca. 1184–1264), whose medieval imagination sparked with supernatural and apocalyptic visions. Today, the related popular genres of horror and science fiction continue to inspire Bhabha, as does art history from antiquity to the present day. Her rough-hewn figures are ambiguous—are they emerging or trapped within, rising from the depths of the earth or returning to the underworld? Set amidst an expansive landscape where the natural and man-made converge, Bhabha’s sculptures captivate through contradiction, seemingly forged in geological time yet animated with a visceral sense of immediacy.
Below Nederveen describes his process for the work (pictured below)-
Using a mixed media approach to image making, I combine acrylic paint and C-print photographs. By layering these elements I can etch down into the emulsion of the photograph to reveal golden hues and also build up the surface with impasto and washes of colour. The result is an image with photo sharp detail in focal areas and painterly brush marks that obscure and create space for the imagination.
Both of these exhibitions close 10/11/25.
Steven Nederveen, “Gold Hidden Within”, Mixed Media
Steven Nederveen, “Gold Hidden Within”, Mixed Media (detail)
Steven Nederveen, “Breathe In the Forest Air”, Mixed Media
William Wegman‘s portraits of his Weimaraner dogs were recreated in glass mosaic form by Mayer of Munich in 2018 for “Stationary Figures”, lcated in the 23rd Street subway station. The eleven murals brighten up the walls and are one of the many projects created by MTA Arts & Design.
Photographed with the artist’s deadpan sense of humor, the dogs take on human attributes, from wearing street clothes like a shiny raincoat or flannel shirt, to being grouped like passengers as they gaze into space or peer down the platform as if waiting for the train.
Situated in bold blocks of color, the larger-than-life mosaic dogs are bursting into space and interacting with commuters. The mosaic fabricator, Mayer of Munich, interpreted the photographs taken for this project by meticulously transforming the facial expressions, skin textures and patterns of the dogs’ vibrant attire into glass mosaic. Wegman has lived and worked in the neighborhood for decades, and together with his dogs Flo and her brother Topper, they have created images that enliven this busy station.
Speaking about the project, Wegman said, “I wanted to create portraits of individual characters, people who you might see next to you on the platform. For these I dressed the dogs in more or less ordinary clothes, nothing too fashionable. I was very interested in the way in which photographs, even the out of focus dogs in the background of some images, could be translated into mosaic by Mayer of Munich, who skillfully turned gray stones into gray dogs.”
Below are the two series consisting of three panels each-
Corita Kent (Sister Mary Corita)’s print I Should Like to Be Able to Love My Country and Still Love Justice, 1968, was on view at the Museum of Modern Art in NYC in June of 2024.
From the museum about the artist-
Corita Kent, also known in the Catholic Church as Sister Mary Corita, incorporated a range of references into her silkscreen prints, spanning pop culture imagery and song lyrics, biblical allusions, and literary conceits. After seeing Andy Warhol’s Campbell’s Soup Cans in 1962, she was inspired to embrace the language of Pop art, using bold, graphic designs to convey anti-war messages. In the 1980s Kent’s posters and ephemera were collected by PAD/D (Political Art Documentation/Distribution), a New York-based art activism group with a mission to create an archive of politically concerned art and ephemera from around the world. The materials are now part of the MoMA Archives, Library, and Research Collections.
You can currently see some of her photographic archive at Marciano Art Foundation in Los Angeles for the exhibition Corita Kent: The Sorcery of Images, on view until 1/24/26. The show “focuses on a little seen part of Corita’s artistic practice: her archive of over fifteen thousand 35 mm slides that she and her cohorts took between 1955 and 1968 while she was a beloved teacher in the art department at Immaculate Heart College”.
As part of their press release they include this lovely quote from the artist-
“In a sense, the whole world around the artist is his source, his sorting and relating powers are his sorcery, and the one isn’t much good without the other. … Anything can be a source, even a mistake. The sorcery or the thievery is the art of relating sources into a new solution.”
Her work can also be seen in Los Angeles at the Corita Art Center. The center is free to visit on Saturdays (with appointment).
Jon Carsman‘s painting October Visions, 1975, was on view at Akron Art Museum in 2024 as part of their permanent collection.
From the museum about the artist-
Jon Carsman painted from photographs, but though his pictures have a clear quality of precision, his intention was never to simply recreate what he had recorded on film. In his own words: “I want to give you a feel of what it was like to be there when I was.” To achieve this goal, Carsman stylized many elements of his paintings, often working toward a visual equivalent of the rhythm, movement, and energy that he found in music. He also worked most frequently with the rural scenery of Pennsylvania’s Wyoming Valley, where he was born and raised. As a result, images that began as still photographs take on new life through the artist’s personal experiences and memories.
“Imagine a World Without America”, 2007, Screen print and acrylic on canvas
The painting above is by Brooklyn-based artist Dread Scott and was on view as part of the 2019 group exhibition Borders at James Cohan gallery in NYC.
From the press release about the work-
His 2007 work, Imagine a World Without America, calls upon the viewer to participate in the titular thought experiment and contemplate that absence. The painting de-centers the United States of America from the middle of the map that most Americans are familiar with. Scott utilizes the language of cartography to encourage the exploration of social questions, not geography. Land mass and sea are depicted but—like the world as it actually is—borders don’t exist.
The work is currently on view as part of 15, a group exhibition at Cristin Tierney gallery, celebrating the gallery’s anniversary and new location. 15 will be on view until 10/4/25.
Dread Scott has created political works throughout his career in a variety of mediums. In the video below he discusses how one of his art installations, What Is the Proper Way to Display a U.S. Flag (1989), drew controversy- including denouncement by then President George H.W. Bush.
Christopher Parks, aka Palehorse, is based in St. Petersburg and created the murals pictured. The first, pictured above, is of Hindu goddess Saraswati and is located on the wall behind the Floridian Social Club.
This mural honors and celebrates the blessings of the Hindu Goddess known as Saraswati, whose image symbolizes the qualities of knowledge, music, art, speech, wisdom, & learning. Her auspicious presence & the properly tuned strings of her veena instrument remind us all to tune our hearts to divine Love, so that we may live in harmony with nature & all beings around the world.
He also created Temple of Eternal Bliss, pictured above, for the 2019 edition of SHINE Mural Festival.
Guardian lions protecting the temple entrance represent the indestructible nature of the Self and our ability to realize universal truth and absolute freedom in any age.
Sat Chit Ananda – सच्चिदानन्द – Consciousness of truth is bliss.
For more of his work, also check out his Instagram.
Alice Bag performing with the Bags for “The Decline of Civilization I”
Ozzy Osbourne from “The Decline of Civilization II: The Metal Years”
Street kids from “The Decline of Civilization III”
From 1979-1998 director Penelope Spheeris made three films documenting the music scene in Los Angeles for the trilogy, The Decline of Western Civilization. All three combine interviews with musicians and their fans with live footage from the shows. Spheeris is able to capture the unique energy of the different scenes and present the participants she interviews without judgment.
The first, released in 1981, and probably the strongest, features concert footage of X, Black Flag, Circle Jerks, Bags, and the Germs, among others. Many of these artists continue to perform to this day, like Pat Smear of the Germs who would go on to play with several bands- including Nirvana and Foo Fighters.
It’s also fun to see a young Phranc (pictured below) playing in Catholic Discipline. She would later switch to folk music and creating fun cardboard sculptures. At the same time it’s sad seeing Darby Crash behind the scenes knowing he would die by suicide in 1980 before the film was released.
X (Exene Cervenka and John Doe)
Phranc
Darby Crash
Pat Smear
The second installment, The Decline of Western Civilization Part II: The Metal Years, changes tone quite a bit as Spheeris covers the heavy metal scene in the late 1980s. Big hair, big hopes, and lots of makeup mark a big change from the previous punk era, both in attitudes and musical style. Several big names show up along with the lesser known bands including Ozzy Osbourne, Lemmy from Motörhead, Poison, Aerosmith, and Alice Cooper. Gene Simmons and Paul Stanley from KISS also make appearances, the latter filmed on a bed surrounded by women.
Two members of Poison
The third installment, released in 1998, returns to punk music twenty years later. It also returns to the style of the first installment, but this time focuses more on the “gutter punks”- homeless kids living on the streets of Hollywood. There are several scenes of them panhandling, partying, and talking about their rough upbringing. These scenes are mixed with band footage and interviews with some of the musicians from the previous punk scene, like Flea and Rick Wilder (of The Mau Maus), who provide their perspective on the changes. Spheeris was so moved by the stories these kids told, she went on to be a foster parent after making the film.
Rick Wilder of the Mau Maus
All of these films were released in a box set with the help of Spheeris’s daughter Anna. They are also available on several streaming sites.
