Deer 1981

Stencils, Street Art No Comments

In 1981, Fekner began using stylized stencils of leaping deer that were painted outdoor as well as indoor installations.
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My AD is No AD 1980

Public Art, Stencils, Street Art No Comments

Fekner appropriates the front and back of billboards and highways signs as ‘alternative billboards’ with his subliminal messages.

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Random Dates 1976 to 1977

Gorman Park/Itchycoo Park, Projects, Public Art, Stencils, Street Art No Comments

Gary Hütter/Random Dates in Queens was the first stencil series he does anonymously on the streets and highways of Queens, NY in the winter of 76-77.

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Decay 1978 to 1983

Cash for Clunkers, Guerilla Art, Projects, Stencils, Street Art, Urban Decay No Comments

Fekner’s first environmental projects include Decay and Decay and Abandoned on neglected properties in Queens. They also appear on the East River bridges that were in state of disrepair.

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Nuclear Intrusions

Collaborations, Guerilla Art, Political Art, Projects, Stencils, Street Art, Toxic Wastes No Comments


Nuke Freeze
1982
Central Park, NY


The Daze of Toxic Water
1988
Southampton, NY
Collaboration with Andrew Ruhren

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Post No Bills/Post No Dreams Winter 78-79

Collaborations, Don Leicht, Guerilla Art, Projects, Stencils, Street Art No Comments

postnobillsclosup

The Post No Bills/Post No Dreams project was one of the first examples of street art culture jamming and subversive advertising. Other stencils created in the series included Instant This Instant That, No TV, Soft Brains Watch The Screen And Buy The Jeans, Doomsday and My Ad Is No Ad. Read the rest of this entry »

Mother Earth Will Survive (Your Journey Through The Secret Life Of Plants)

Collaborations, Don Leicht, Exhibitions, Paintings, Public Art, Stencils, Street Art No Comments

Your Journey Through The Secret Life Of Plants

John Fekner and Don Leicht were invited to participate in the outdoor street exhibition Welling Court Mural Project organized by Ad Hoc Art in Queens, NY. After a preliminary visit to the site, they decided to paint on a wall directly facing the Two Coves Community Garden and the NYCHA Astoria Houses Development.  The location of their collaborative site-specific work was important for two reasons: not only did it connect with the communities’ thriving volunteer-run urban garden; it also provided a platform to address the catastrophic BP oil spill in the Gulf of Mexico. Read the rest of this entry »

The Suffolk Street Fallout Street 1981

Collaborations, Guerilla Art, Political Art, Public Art, Stencils, Street Art Comments Off

suffolkfallout1

John Fekner & John Crash Matos

John Crash Matos, a graffiti artist, and I collaborated on a project entitled THE SUFFOLK STREET FALLOUT SHELTER. The mural, painted on an abandoned building on the Lower East Side, depicts a nuclear bomb exploding in the New York City. A stenciled warning in English and Spanish reads: IN CASE OF NUCLEAR WAR STEP INSIDE/EN CASO DE GUERRA NULCEAR ENTREN. Read the rest of this entry »

Fashion Moda-Selected Projects

Collaborations, Don Leicht, Exhibitions, Projects, Space Invader, Stencils, Street Art No Comments

Perception

Danger Live Artists

Fekner visits Fashion Moda in 1979 which leads to his installation of NO TV/READ which is simultaneously shown at P. S. 1 and Galerie S:t Petri -Archive of Experimental and Marginal Art in Lund, Sweden. In the window of Fashion Moda, Fekner creates an installation with a TV set, a stenciled logo and a statement in both English and Spanish in February 1980. Read the rest of this entry »

Eco Art Projects-Warning Signs 4U2C

Demolition, Projects, Stencils, Street Art, Toxic Wastes, Urban Decay 7 Comments

4U2C

“As a painter, act as the eye of the community, for the community.”

“In the 70s, I made a conscious choice of changing the formal aesthetics I was taught in art school. No longer interested in working within the spatial restrictions of a white canvas, I embraced the outdoors, reducing the value of an art object to that of a shared visual experience for the general public. At the same time, the formal ‘blankness’ of a typical gallery, devoid of any distinctive character, no longer held interest for me.”

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