
A 1.5-mile mural showcase just popped up under the BQE in Brooklyn
The Atlantic Avenue BID, in collaboration with Thrive Collective and NYC DOT Art, has transformed 1.5 miles of the BQE underpass between Atlantic Avenue and Sands Street. The open-air mural is one of the most ambitious street art projects in NYC right now, as seven massive works now line the streets connecting Atlantic Avenue with the Brooklyn waterfront.
The mural features bright, colorful and eye-catching paintings of iconic NYC culture—pizza, pigeons, coffee (in a traditional bodega cup, of course), the Staten Island Ferry and a smiling cartoon version of the Statue of Liberty. Most importantly, the people of NYC and Brooklyn are heavily featured, with themes ranging from immigration and industry to biodiversity and community healing.
For the south wall, seven artists were selected by Thrive Collection to build the six art pieces and interpret the complicated past of the thoroughfare, while still celebrating the future. The pieces were each given individual titles: "Dockyards" by Will Power, "Industrious" by Vince Ballentine, "Restore" by Jodi Dareal, "Biodiverse" by Peach Tao, "Recreate" by Miki Mu, and "Reframe" by Christian Penn.
In his piece, Will Power (William Richardson Jr.) featured Brooklyn's dockworkers.
This painting honors their courage and the power of solidarity.
"In this painting, I strive to capture the indomitable spirit of the Brooklyn dockworkers at Red Hook Terminal. Their silhouettes stand resolute against the backdrop of towering cranes and vast cargo ships, symbolizing their unwavering strength and unity," he said in an artist statement. "These workers are the unsung heroes of our nation's commerce. Their labor ensures the seamless flow of goods that sustain our daily lives and drive the economy forward. This painting honors their courage and the power of solidarity, reminding us that the heartbeat of our ports—and indeed, our economy—lies in the hands of dedicated workers who stand together for justice and dignity."
The north wall, "The Avenue," by artist Marrisa Molina spotlights the power of neighborhood voices during land use changes. It also expores the architecture that was preserved as landmarks in Atlantic Avenue's historic districts, highlighting the 60-year anniversary of the NYC Landmarks Law. You can see this represented in the paintings of construction workers carrying steel beams behind Atlantic Ave road signs.
Although the BQE is a regular part of life for New Yorkers nowadays, back in the 1940s when it was first constructed by urban planner Robert Moses, the expressway was viewed as a tragic mistake. By displacing thousands of people and severing the connection between Atlantic Avenue and the waterfront, the previously pedestrian friendly street became car centric.
As long as the BQE remains a part of Brooklyn's infrastructure, its walls should be used to celebrate and honor Brooklynites.
"As long as the BQE remains a part of Brooklyn's infrastructure, its walls should be used to celebrate and honor Brooklynites, particularly those whose neighborhoods were fractured and displaced by the expressway," Antonio Reynoso, Brooklyn's borough president, said in a statement.
The mural was commissioned after the Atlantic Avenue BID was awarded funding to redesign the Atlantic Avenue BQE Underpass via a $60,000 Public Realm Grant from the NYC Department of Small Business Services.
—so you can take a stroll and experience these powerful works of art even as the sun sets.
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Daily Mail
an hour ago
- Daily Mail
Georgia Toffolo's husband James Watt forced to deny claims she is pregnant as she shares a post promising 'major news' on romantic getaway
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The Sun
2 days ago
- The Sun
I saw Ozzy's death coming but it still took my breath away – when giants fall it's hard to accept, says Alice Cooper
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'Even though everybody saw it coming with Ozzy, it took our breath away when it happened. 'So Ozzy, your records and your music and your legend and all that you brought — the humour to the rock business — will live on forever. 'We're gonna miss you, man! Rest easy Ozzy, and we'll see you on the other side.' For many British schools, it was the last day of term before the summer holidays, bringing to mind his most famous song, School's Out. 'That song is still on every radio station here,' says Alice of the shouty singalong which hit No1 in the UK on August, 12, 1972, and stayed there for three weeks. He continues: 'You never know when you're going to write an anthem. An anthem is one of those songs that kids will still be singing a hundred years from now because they relate to it. 'So long as there is school, School's Out will be everybody's favourite song at the end of the year. It's the only song I've written that I was totally sure of. I said, 'If this isn't a hit, I shall be selling shoes somewhere'.' It came with the immortal chorus of, 'school's out for summer, school's out forever', and lines like, 'no more pencils, no more books, no more teachers' dirty looks'. Alice admits 'it's very subversive-sounding' but that 'it's a real celebration of the last three minutes of the last day of school. For every kid, it's just joy'. This brings us to the reason I'm talking to Alice in the first place — his big reunion with the original Alice Cooper Band. Formed in Phoenix, Arizona, they released seven albums between 1969 and 1973 and School's Out, with its hit title track, was the fifth. We were a band from Phoenix that never should have made it, except that we had a spark that nobody else had. Alice on his band Among their other best-loved 'shock rock' creations were I'm Eighteen, Hello Hooray, Elected, No More Mr Nice Guy and Billion Dollar Babies. 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That was a great compliment. We actually confused Zappa!' (You know, one of the most zany rock musicians that ever lived.) Alice tries to put his finger on what made them successful. 'We were a band from Phoenix that never should have made it,' he decides, 'except that we had a spark that nobody else had. 'We had this little theatrical thing going and we also wanted to be America's Yardbirds,' he adds in reference to the British band that helped launch the careers of Eric Clapton, Jeff Beck and Jimmy Page. In 1968, the band changed their name from Nazz because it was taken by Todd Rundgren. During a brainstorming session, they tried to think of 'somebody's grandmother'. 'Who can think of a more grandmother name than Alice Cooper?' says the man who later legally morphed from Vincent Furnier into Alice Cooper. 'I said, 'It would throw everybody right off', and everybody agreed. 'We went through all these other names and we kept coming back to Alice Cooper — it just stuck.' At that time, Alice also began experimenting with face paint and developing the outlandish stage image (snakes and chickens included) that he's loved for. 'This girl came up to me and said, 'Have you ever seen this guy?' And she showed me a picture of Arthur Brown.' Brown, a Brit, is remembered for global hit Fire, for which he would don a burning helmet. Let's just say the music and performance were incendiary. Alice continues: 'We had the same make-up and I went, 'Are you kidding me?' I'd never heard of this guy but we were on the same wavelength. 'I realised I had a kindred brother in England. Arthur and I ended up as great, great friends.' He was brilliant, like the statue of David. Every girl in the world loved this guy — the tortured poet obsessed with death. Alice on Jim Morrison of The Doors He recalls early live forays in LA at Whisky A Go Go and The Cheetah Club, and thinking, until he saw them, that other acts on the bill, Pink Floyd and Led Zeppelin, were solo artists. Then, in 1970, producer Bob Ezrin took things to the next level. Today, he's regarded as the unofficial sixth member of the band, a bit like 'fifth Beatle' George Martin. He was in charge of their breakthrough hit I'm Eighteen, giving some much-needed advice along the way. 'We kept trying to be The Yardbirds,' remembers Alice. 'And Bob kept saying, 'No, this song's about a dumb teenager, so it's got to sound like that'. 'And we were dumb teenagers, so it was pretty easy. We just dumbed it down and the simplicity was really powerful.' Now, the surviving members are all in their seventies, but you wouldn't know from the raw energy on their comeback album, The Revenge Of Alice Cooper. Anyone who has seen Alice live will probably have seen a menacing boa constrictor draped around his neck. The album begins with a song named after a snake of a different kind, Black Mamba. It features a free-flowing cameo from Robby Krieger of The Doors because, affirms Alice, 'Robby is the only guy who could have played that kind of snaky guitar part. He nailed it.' The mention of Krieger inevitably prompts one of his great rock 'n' roll tales. 'We opened for The Doors for a while,' Alice recalls. 'They were the first band to take us under their wing when we came in [to Los Angeles] from Phoenix. 'They allowed us to watch them record and we got to know them really well.' I ask Alice about The Doors' mercurial frontman Jim Morrison, who was found dead aged 27 in 1971 in a Paris apartment. The many-years-sober singer says: 'I was drinking so we got along real well. We just drank and talked and drank. 'He was brilliant, like the statue of David. Every girl in the world loved this guy — the tortured poet obsessed with death.' Alice got to witness 'Lizard King' Jim's incredible stage presence up close. 'Glen was our Keith Richards' 'He was electric, he was James Dean. He'd saunter up to the stage and take half a minute to light a cigarette. 'Then he'd sing and every girl would drop to their knees.' The new album also features a loving tribute to the Alice Cooper Band's dear departed guitarist, Glen Buxton. Called What A Syd, it brings this response from Alice: 'Glen was our Keith Richards. 'Everybody loved him but the only person I ever saw him jam with was [Pink Floyd's] Syd Barrett. 'When everyone else was slowing down rock 'n' roll-wise with what they were doing to their bodies, he just kept going. 'There was no stopping him. By 49, he looked like he was 78, 80 years old.' Finally, we return to the mischief that both Alice and Ozzy became renowned for. 'There's a lot of humour on this album,' he says. 'I can't help it, that's just the way I write. 'Everybody's telling the most important song is Blood On The Sun. They say it's poetic, it flows, it makes your mind go, 'Oh my gosh!' 'What are they talking about? Every single line in that song is a movie title. It sounds important but it's not at all!' So that explains him singing 'Don't Cry, It's Only Thunder' (1982 war movie), 'From Dusk Till Dawn' (1996 horror film) and so on. Surely Alice's fellow eternal prankster Ozzy would approve! 7 7


Time Out
2 days ago
- Time Out
A super-viral faux flower market is coming to Rockefeller Center this fall
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