Registration required: https://www.etix.com/ticket/p/68775801/graffitifrom-the-streets-to-museums-part-ii-washington-hirshhorn-museum-and-sculpture-garden
Experts and artists come together to explore ways in which graffiti and street art have found new resonance in traditional art spaces, such as museums and galleries. This is the second in a series of programs that examine how graffiti imagery has permeated our culture and evolved over time.
This program is presented alongside the exhibition OSGEMEOS: Endless Story, the first US museum survey and largest US exhibition of work by identical twin brothers Gustavo and Otavio Pandolfo, known globally as OSGEMEOS—Portuguese for “the twins.” The yearlong, full-floor presentation brings together approximately 1,000 artworks, photographs, and archival materials to highlight the trajectory of their collaborative multidisciplinary practice, including the roots of their fantastical artistic language, inspired by their upbringing in urban Brazil.
ABOUT THE PANELISTS
Pedro Alonzo is an independent curator who specializes in ambitious public art projects. He has served as an adjunct curator at Dallas Contemporary, the ICA Boston, and the Institute of Visual Arts, Milwaukee. At the ICA Boston, he curated Shepard Fairey’s 20-year survey, Supply and Demand, Swoon: Anthropocene Extinction, and, in 2012, OSGEMEOS, which was accompanied by the first mural on the Rose Kennedy Greenway. He organized the first solo museum exhibition for French artist JR at the Contemporary Arts Center, Cincinnati. For The Trustees, Massachusetts’s largest conservation and preservation nonprofit, he launched the Art and the Landscape Initiative, resulting in four site-specific projects with Sam Durant, Jeppe Hein, Alicja Kwade, and Doug Aitken, the latter of whom created a reflective hot-air balloon sculpture that traveled across Massachusetts. In 2017, Alonzo worked with JR to place a gigantic image of a Mexican child named Kikito overlooking the US/Mexico border wall in Tecate. His most recent exhibitions include Pedro Reyes: Amnesia Atomica; Urban (R)evolution, which highlighted the evolution of urban art; the Noor Riyadh Festival in Saudi Arabia; and Julian Charrière’s Midnight Zone in Mexico. He is currently a lecturer in architecture at the Harvard Graduate School of Design, where he teaches a course on curating public art, and he serves as artistic director for the inaugural Boston Public Art Triennial, scheduled for May 2025.
Caledonia Curry / Swoon is an artist and filmmaker recognized for her pioneering vision of public artwork. Through intimate portraits, animated films, immersive installations, and multiyear community-based projects, she explores the potential for art and the creative process to act as a catalyst for social change and interpersonal healing.
Alfonso Gonzalez Jr.’s process honors the narratives embedded within the adapting Los Angeles landscape. Serving as a form of historical documentation, excavated visual markers such as hand-painted signs, formal advertisements, landmarks, car culture, and architecture (to name a few), embrace the viewer. His works stand as objects that uphold the visual as a form of knowledge, blending traditional craftsmanship with contemporary social commentary. His practice extends beyond paintings and explores sculpture, installation, and curation. He currently works and lives in Los Angeles. Select solo exhibitions include This Was Here, Jeffrey Deitch, New York (2024); and There Was There, Matthew Brown, Los Angeles (2022). Recent museum group exhibitions include Ordinary People: Photorealism and the Work of Art since 1968, MOCA, Los Angeles (2024); Xican–a.o.x Body, American Federation of Arts, New York (2023); Singular Views: Los Angeles, Rubell Museum, Miami (2023); Fire Figure Fantasy: Selections from ICA Miami’s Collection, ICA, Miami (2022); and Loveline, Long Beach Art Museum, California (2022).
RJ Rushmore is a writer, curator, and public art advocate. He is the founder of the street art blog Vandalog and the culture-jamming campaign Art in Ad Places. As a curator, he has collaborated with Poster House, Mural Arts Philadelphia, The L.I.S.A. Project NYC, and Haverford College. Rushmore’s writing has appeared in Hyperallergic, Juxtapoz, Complex, and numerous books. He holds a B.A. in political science from Haverford College, where his thesis investigated controversies in public art.
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