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For graffiti artists, abandoned skyscrapers in Miami and Los Angeles become a canvas for regular people to be seen and heard
In 2023-2024, graffiti artists tagged abandoned skyscrapers in Los Angeles and Miami, highlighting financial and political issues through their large, visible artworks.
Colette Gaiter, University of Delaware
The three qualities that matter most in real estate also matter the most to graffiti artists: location, location, location.
In Miami and Los Angeles, cities that contain some of the most expensive real estate in the U.S., graffiti artists have recently made sure their voices can be heard and seen, even from the sky.
In what’s known as “graffiti bombing,” artists in both cities swiftly and extensively tagged downtown skyscrapers that had been abandoned. The efforts took place over the course of a few nights in December 2023 and late January 2024, with the results generating a mix of admiration and condemnation.
As someone who has researched the intersection of graffiti and activism, I see these works as major milestones – and not just because the artists’ tags are perhaps more prominent than they’ve ever been, high above street level and visible from blocks away.
They also get to the heart of how money and politics can make individuals feel powerless – and how art can reclaim some of that power.
Two cities, two graffiti bombings
Since late 2019, Los Angeles’ billion-dollar Oceanwide Plaza – a mixed-use residential and retail complex consisting of three towers – has stood unfinished. The Beijing-based developer was unable to pay contractors, and ongoing financing challenges forced the company to put the project on pause. It’s located in one of the priciest parts of the city, right across the street from Crypto.com Arena, where the 2024 Grammy Awards were held.
Hundreds of taggers were involved in the Los Angeles graffiti bombing. It may never be publicly known how the idea was formed and by whom. But it seemed to have been inspired by a similar project that took place in Miami during Art Basel, the city’s annual international art fair.
In November 2023, the city of Miami announced that a permit to demolish One Bayfront Plaza site, an abandoned former VITAS Healthcare building, had been filed.
Miami is known for its elaborate spray-painted murals. There’s also a rich tradition of graffiti in the city. So Miami was a natural gathering place for graffiti artists during Art Basel in December 2023, and One Bayfront Plaza became the canvas for taggers from around the world.
Over the course of a few days, graffiti artists – some of whom rappelled down the side of the building – tagged the brutalist, concrete structure with colorful bubble letters spelling their graffiti names: “EDBOX,” “SAUTE” and “1UP,” and hundreds more.
The response to the Miami bombing was more awe than outrage, perhaps because the building will soon be torn down. It elicited comparisons to 5Pointz, a collection of former factory buildings in the Queens borough of New York City that was covered with graffiti and became a landmark before being demolished in 2014.
Meaning and motivation
In the early 2000s, when I started researching street graffiti, I learned that there are different names for different graffiti types.
“Tags” are pseudonyms written in marker, sometimes with flourishes. “Fill-ins” or “throw-ups” are quickly painted fat letters or bubble letters, usually outlined. “Pieces” involve more colorful, complicated and stylized spray-painted letters.
The tradition of painting ornate graffiti names made me think of Paul Cézanne, who painted the same bowl of fruit over and over. The carefully chosen names and their letters become the subject that writers use to practice their craft.
But I also wanted to know why people graffitied.
Many graffiti writers tagged spaces to declare their existence, especially in a place like New York City, where it is easy to feel invisible. Some writers who became well known in the early 1970s, like Taki 183, scrawled their names and street numbers all over the city.
During my research, I spoke with one New York graffiti artist whose work had garnered a lot of attention in the 1980s. He explained that his writing had no concrete political messages.
“But,” he added, “the act of writing graffiti is always political.”
Another graffiti artist I interviewed, “PEN1,” stood with me on a street in lower Manhattan, pointing out one of his many works. It was a fill-in – huge letters near the top of a three- or four-story building, very visible from the street.
“Those people have paid so much money to put their message up there,” he said, pointing to nearby billboards, “and I get to put my name up there for free.”
Through my project, which I ended up titling “Unofficial Communication,” I came to understand that writing graffiti on walls, billboards and subway cars was a way of disrupting ideas of private ownership in public, outdoor spaces.
It involved three different sets of players. There were the taggers, who represented people defying the status quo. There were the public and private owners of the spaces. And there was the municipal government, which regularly cleaned graffiti from outdoor surfaces and tried to arrest taggers.
In cities across the U.S., then and now, it’s easy to see whose interests are the priority, whose mistakes governments are willing to overlook, and which people they aggressively police and penalize.
Loud and clear
The names painted on the Los Angeles skyscrapers are the faster and easier-to-complete fill-ins, since time is at a premium and the artists risk arrest.
These vertical graffiti bombing projects on failed skyscrapers, deliberately or not, call attention to the millions of dollars that are absorbed by taxpayers when private developers make bad investments.
Because the names painted on the buildings are fill-ins, they’re not especially artistic. But they did, in fact, make a political statement.
A former graffiti artist who goes by “ACTUAL” told The Washington Post that he’d come out of retirement to contribute to the Los Angeles project.
“The money invested in [the buildings] could have done so much for this city,” he added.
Some of the graffiti artists in Los Angeles were arrested, and the Los Angeles City Council is demanding that the owners of Oceanwide Plaza remove the graffiti, described as the work of “criminals” acting “recklessly.”
Meanwhile, the developers of buildings that have sat, unfinished, for years, in the middle of a housing crisis, have broken no laws.
Some reckless acts, apparently, are more criminal than others.
Colette Gaiter, Professor of Art and Design, University of Delaware
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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What is an Atlantic Niña? How La Niña’s smaller cousin could affect hurricane season
In August 2024, both La Niña and the lesser-known Atlantic Niña seem to be developing. This rare combination may impact Atlantic hurricane season, potentially reducing risk despite global warming’s influence.
Annalisa Bracco, Georgia Institute of Technology and Zachary Handlos, Georgia Institute of Technology
The North Atlantic Ocean has been running a fever for months, with surface temperatures at or near record highs. But cooling along the equator in both the Atlantic and eastern Pacific may finally be starting to bring some relief, particularly for vulnerable coral reef ecosystems.
This cooling is related to two climate phenomena with similar names: La Niña, which forms in the tropical Pacific, and the less well-known Atlantic Niña.
Both can affect the Atlantic hurricane season. While La Niña tends to bring conditions ideal for Atlantic hurricanes, the less powerful Atlantic Niña has the potential to reduce some of the hurricane risk.
We’re ocean and atmospheric scientists who study this type of climate phenomenon. It’s rare to see both Niñas at the same time, yet in August 2024, both appeared to be developing. Let’s take a closer look at what that means.
La Niña and its cousin, Atlantic Niña
La Niña is part of the El Niño–Southern Oscillation, a well-known climate phenomenon that has widespread effects on climate and weather around the world.
During La Niña, sea surface temperatures in the tropical Pacific dip below normal. Easterly trade winds then strengthen, allowing more cool water to well up along the equator off South America. That cooling affects the atmosphere in ways that reverberate across the planet. Some areas become stormier and others drier during La Niña, and the wind shear that can tear apart Atlantic hurricanes tends to weaken.
La Niña and its warmer opposite, El Niño, oscillate every three to four years or so. https://www.youtube.com/embed/wVlfyhs64IY?wmode=transparent&start=0 La Niña and its opposite, El Niño, explained. NOAA.
A similar climate phenomenon, Atlantic Niña, occurs in the Atlantic Ocean but at a much smaller scale and amplitude. It typically peaks around July or August and tends to have a shorter duration than its Pacific cousin, and much more modest and local impacts. Atlantic Niñas generally have the opposite effect of Atlantic Niños, which tend to reduce rainfall over Africa’s Sahel region and increase rainfall in Brazil and the countries that surround the Gulf of Guinea, such as Ghana, Nigeria and Cameroon.
While much weaker than their Pacific counterpart, Atlantic Niñas can, however, partially counteract La Niñas by weakening summer winds that help drive the upwelling that cools the eastern Pacific.
Why might both happen now?
In July and August 2024, meteorologists noted cooling that suggested an Atlantic Niña might be developing along the equator. The winds at the ocean surface had been weak through most of the summer, and sea surface temperatures there were quite warm until early June, so signs an Atlantic Niña might be emerging were a surprise.
At the same time, waters along the equator in the eastern Pacific were also cooling, with La Niña conditions expected there around October or November.
Getting a Pacific-Atlantic Niña combination is rare but not impossible. It’s like finding two different pendulums that are weakly coupled to swing in opposite directions moving together in time. The combinations of La Niña and Atlantic Niño, or El Niño and Atlantic Niña are more common.
Good news or bad for hurricane season?
An Atlantic Niña may initially suggest good news for those living in hurricane-prone areas.
Cooler than average waters off the coast of Africa can suppress the formation of African easterly waves. These are clusters of thunderstorm activity that can form into tropical disturbances and eventually tropical storms or hurricanes.
Tropical storms draw energy from the process of evaporating water associated with warm sea surface temperatures. So, cooling in the tropical Atlantic could weaken this process. That would leave less energy for thunderstorms, which would reduce the probability of a tropical cyclone forming.
However, NOAA takes all factors into account when it updates its Atlantic hurricane season outlook, released in early August, and it still anticipates an extremely active 2024 season. Tropical storm season typically peaks in early to mid-September.
https://datawrapper.dwcdn.net/lcaEc/2
Two reasons are behind the busy forecast: The near record-breaking warm sea surface temperatures in much of the North Atlantic can strengthen hurricanes. And the expected development of a La Niña in the Pacific tends to weaken wind shear – the change in wind speed with height that can tear apart hurricanes. La Niña’s much stronger effects can override any impacts associated with the Atlantic Niña.
Exacerbating the problem: Global warming
The past two years have seen exceptionally high ocean temperatures in the Atlantic and around much of the world’s oceans. The two Niñas are likely to contribute some cooling relief for certain regions, but it may not last long.
In addition to these cycles, the global warming trend caused by rising greenhouse gas emissions is raising the baseline temperatures and can fuel major hurricanes.
Annalisa Bracco, Professor of Ocean and Climate Dynamics, Georgia Institute of Technology and Zachary Handlos, Atmospheric Science Educator, Georgia Institute of Technology
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Rebecca Senf, University of Arizona
Louis Carlos Bernal, a Chicano photographer born in the Arizona border town of Douglas in 1941, invented a style of art photography that honored his Mexican American culture. In the process, he created an indelible record of life in Southwestern barrios – low-income, primarily Spanish-speaking neighborhoods – in the 1970s and 1980s.
He died tragically in 1993 when he was just 52 years old. With his photographs in only a few museum collections, his legacy received little attention over the past three decades. Now, his powerful images are reaching new audiences through a bilingual book and exhibition of 120 photographs.
As chief curator of the Center for Creative Photography at the University of Arizona, I’ve been working with Bernal’s photographs over the past decade. In 2014, his family donated his photographs, negatives, contact sheets, working materials and memorabilia, which allowed us to establish the Louis Carlos Bernal Archive at the center.
The exhibition, which runs from Sept. 14, 2024, to March 15, 2025, will feature the portraits of everyday Mexican Americans from his most famous series of photographs, “Barrios.” And thanks to the work of photography scholar Elizabeth Ferrer, we’ve learned even more about Bernal’s artistic technique, process and goals.
Capturing ‘Chicanismo’
As a child, Bernal was given a camera and became captivated by making photographs. He enrolled at Arizona State University thinking he would become a Spanish teacher, but his fascination with photography won out.
Bernal pursued various projects as he deepened his exploration of photography. He created collages featuring iconic images of former president John F. Kennedy, who, as the first Catholic president, was particularly revered in the Mexican American community. Responding to the Watergate hearings, and interested in the impact of media on public perception, he worked on a series in which he instructed family members to hold a life-size mask of Richard M. Nixon up to their faces. Emulating the work of one of his mentors, visual artist Frederick Sommer, he made abstract images using sculptural cut paper.
Ultimately these experiments gave way to a rich and sustained project of photographing Mexican Americans and their homes.
In doing so, he turned his neighbors, relatives and other Chicanos living in the Southwest into his artistic subjects. Together, the images convey Bernal’s goal of expressing his Mexican American pride, known as “Chicanismo.”
In this way, he was a part of the Chicano art movement, which sought to address the political and cultural concerns of the Mexican American community. Chicano artists highlighted issues such as labor exploitation, immigration, gender roles and racial discrimination. Their goal was to upend stereotypes about Mexican Americans, critique the status quo and cultivate a shared cultural identity.
‘Art of and for the people’
Bernal’s photographs might remind some viewers of snapshots found in a family album, and they do share many qualities with family photographs: They feature people in everyday settings; the subjects are often centered, posing naturally and appearing relaxed; and he preferred color photography, which, by the 1970s, had become a popular way to document birthday parties, holidays and other family milestones.
Bernal, however, gave a lot of thought to the elements in each photograph. He had a process for making pictures just as he envisioned them.
Throughout the many photographs he took inside homes and businesses, and of gatherings of relatives and friends, he deliberately highlighted personal possessions: framed family photographs, altars, posters, religious icons, textiles, and floral and seasonal decorations. Beyond the people in the images, he wanted to convey themes of family, spirituality, home and community.
In a 1982 video interview, Bernal described his process, and how he would “(work) things out in advance in my head before going out.”
This allowed him to work quickly when he was in someone’s home, minimizing the imposition his presence might cause. He also liked to photograph variations of the same setting – for instance, a room with and without family members, or a scene in both color and black and white. Later, he reviewed all the options, selecting the best from a group of images with subtle differences.
In this way, he was able to create photographs from the world around him based on his deep familiarity with Chicano life and culture. These images introduced a way of life to people beyond the barrios. But they held up a mirror for other Mexican Americans, who could easily recognize the scenes.
“The Chicano artist cannot isolate himself from the community,” Bernal said in 1984, “but finds himself in the midst of his people creating art of and for the people.”
Elevating the everyday
Bernal’s process can be seen in a pair of typical portraits.
In “6th Street Barrio, Douglas, Arizona, 1979,” Bernal photographs a young boy in the living room of his family’s home.
The boy represents one point of a triangular composition. A dark brown, upholstered couch acts as the other, while family photographs high on the yellow wall form the apex. Bernal situated himself across from the corner of the room, where a small end table covered with the family’s possessions sat.
The triangular arrangement of the photograph’s key elements – and the symmetry of the vertical line formed by the room’s corner at center – gives the image balance, stability and permanence, reflecting the way family and home serve as an anchor for the Chicano community.
In “Leon Speer’s Barber Shop, Felix Valdivezo & Daughter Patricia, Lordsburg, New Mexico, 1978,” Bernal places the wall of the barbershop parallel to his lens. This choice creates an organized, composed and easily understood environment in which to make a photograph of the barber, the customer and the customer’s daughter.
Through this perspective – and with some help from a row of mirrors and lights – Bernal captures a little world in its entirety, from the tiled floor reflecting sunlight to the collection of items on a shelf below the pressed-tin ceiling. In doing so, Bernal elevates an ordinary place and everyday people as something special to behold. Instead of the spontaneous and candid qualities you might expect from the casual documentation of, say, a child’s first haircut, Bernal has used a deliberate and formal approach, rendering a familiar subject art-worthy.
Bernal’s legacy
Bernal was building this incredible document of contemporary Mexican American culture when his life was cut short.
He had built the photography program at Pima Community College, in Tucson, Arizona, and his photography practice was thriving. But in 1989, as he was biking to work, he was struck by a car. He spent the next four years in a coma, passing away on his birthday in 1993, at age 52.
Although he had achieved acclaim in the U.S., his career was more acknowledged in Mexico, where he had developed a strong community and thriving professional network. Following his death, his work was not widely circulated in the U.S.
With the establishment of his archive, the publication of “Louis Carlos Bernal: Monografía,” and the opening of a large exhibition celebrating his work, I hope his Chicano pride and artistic vision will be introduced to a new generation of viewers, cementing his legacy in the history of American art.
Rebecca Senf, Chief Curator, Center for Creative Photography, University of Arizona
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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The Polaris Dawn mission has etched its name in the annals of space history, marking a significant milestone in human spaceflight. After a groundbreaking five-day journey, the SpaceX Crew Dragon capsule, carrying a crew of four astronauts, splashed down safely in the Gulf of Mexico at 3:37 a.m. ET on Sunday. This mission not only showcased the capabilities of commercial space travel but also achieved several remarkable feats, including the world’s first commercial spacewalk.
A Historic Splashdown
The Crew Dragon capsule landed off the coast of Dry Tortugas, Florida, concluding a mission that saw its crew reach unprecedented heights. Polaris Dawn achieved an orbital altitude of 870 miles (1,400 kilometers), the highest ever reached by humans since the Apollo program, surpassing the previous record set by NASA’s Gemini 11 mission in 1966, which reached 853 miles (1,373 kilometers).
Upon re-entry, the spacecraft faced extreme temperatures of up to 3,500 degrees Fahrenheit (1,900 degrees Celsius) due to the pressures and friction of traveling at 17,000 miles per hour (27,000 kilometers per hour). However, the Crew Dragon’s advanced heat shield ensured the astronauts remained safe and comfortable throughout the descent. Once the capsule hit the water, it bobbed momentarily before rescue crews aboard a vessel dubbed the “Dragon’s Nest” retrieved it, completing a meticulous safety check before the crew disembarked.
Groundbreaking Achievements
The Polaris Dawn crew consisted of mission commander Jared Isaacman, a billionaire entrepreneur and CEO of Shift4 Payments; former US Air Force pilot Scott “Kidd” Poteet; and SpaceX operations engineers Anna Menon and Sarah Gillis. This mission was the first of three planned in the Polaris program, intended to push the boundaries of human spaceflight.
One of the most significant highlights of the mission was the first-ever commercial spacewalk. Conducted on the third day, both Isaacman and Gillis exited the spacecraft in a groundbreaking extravehicular activity (EVA). With the absence of an airlock in the Crew Dragon, the entire cabin was depressurized, exposing all four crew members to the vacuum of space. Gillis, at just 30 years old, became the youngest person to participate in a spacewalk, while the mission set a new record for the number of individuals simultaneously exposed to space, totaling four.
Scientific Exploration
The Polaris Dawn mission also focused on scientific research, particularly studying the effects of space radiation on the human body. By flying through parts of the Van Allen radiation belt, the crew aimed to gather valuable data that could inform future long-duration space missions, including potential journeys to Mars.
The mission kicked off with a rigorous pre-breathing protocol to reduce nitrogen levels in the crew’s bodies, mitigating the risk of decompression sickness during the planned spacewalk. Over the course of the mission, the cabin pressure was gradually decreased from 14.5 to 8.6 pounds per square inch, while oxygen levels were increased to prepare for the EVA.
Breaking Barriers for Women in Space
Notably, Menon and Gillis broke records by flying further from Earth than any women before them. Their participation in this historic mission highlights the increasing role of women in space exploration, paving the way for future generations of female astronauts.
The Polaris Dawn mission represents a pivotal moment in commercial spaceflight, illustrating the potential of private companies to lead the way in exploring new frontiers. As SpaceX continues to innovate and push the boundaries of what is possible, the accomplishments of the Polaris Dawn crew serve as a reminder of humanity’s enduring quest to explore the cosmos.
Conclusion
The Polaris Dawn mission has set the stage for a new era in space exploration, showcasing the capabilities of commercial ventures and the resilience of the human spirit. As we look forward to the upcoming missions in the Polaris program, the accomplishments of this crew will undoubtedly inspire future explorers to reach for the stars.
https://www.cnn.com/2024/09/15/science/spacex-polaris-dawn-splashdown-landing/index.html
Sources: Polaris Dawn, SpaceX, Wikipedia, CNN
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