The befuddling clashes of imagery and color that compose Dan Baldwin’s paintings and pottery make for heady viewing. Most of the images, on their own varying from third-grade classroom appropriate to biker gang-style, are oddly discordant when piled one on top of the other in a profusion of line and hue.

The artist, who received formal training starting in 1990 at the Eastbourne College of Art and Design and then the Kent Institute of Art and Design, Maidstone, told us he took the long road to becoming a full-time artist.

“In 2006 I took the leap, but I’d been selling and exhibiting for years,” he said. “Not many people would be prepared for 16 years but that time was crucial for development.”

The artist, who is known for his beautifully hectic renderings of childlike themes, has spent the last year working purely with ceramics, a medium he’s wanted to perfect for about 6 years now, he said. For those projects he works with photography 3D clay casting, pure gold, lustres, precious metals, and more.

When he paints, on the other hand, it’s canvas, emulsion, aerosol, and often mixed media with silkscreen. The only medium he doesn’t have time for is oil paint. “They dry so slowly,” he said. “I need paint to dry fast so I can build up layering – ceramic paint dries so fast, it’s the opposite.”

According to this self-described workaholic, one of the best parts of being an artist is setting his own schedule, though that does mean he can never leave his work behind at the end of the day. “It never reaches a satisfaction point,” he said. “You end one work and then think, ‘Right, the next one I’ll do this.’ That’s why artists don’t retire.”

At least, that’s why Baldwin isn’t retiring. That, and he enjoys the fact that his work can trigger a response no matter what the age of his viewer. His art is a study in contradictions, he said, a dialogue between different themes. He points out that the obvious one is between life and death, but there also exist motifs of harmony, nature, war, religion, love, science, and decay, blending into one another so seamlessly that it is hard to tell where one ends and another begins.

His final words? “I love the subtle edge between innocence and death.”

“Oblivion” from Grimes’ third studio album Visions is eerie yet captivating, a mismatched mishmash of image and sound that seem utterly strange in each other’s company. The heavy synth and her angelic baby-doll voice are equally surprising when paired together, but nonetheless enchanting.

In the music video, Grimes (Claire Boucher) hangs out in a locker room with body builders and at a dirt-bike rally, certainly not the visuals we expected from dark-leaning lyrics that include the lines “Cause when you’re really by yourself/it’s hard to find someone to hold your hand” and “I see you on a dark night.”

RedBall, which has so far visited such hallowed cities as Taipei, Norwich, Toronto, and Chicago, made its most recent stop in Abu Dhabi, where it had the distinction of forming “the first street art installations in the country,” according to project leaders. The video, being released today, chronicles the thirty-day journey that took place this winter in such exotic locations as The Sheikh Zayed Bridge by Zaha Hadid to the Empty Quarter of the Western Region.

John Sauvé, well-known American sculptor, is once more beautifying landscapes with his Man in the City project. Marked by the iconic red silhouette worked in steel, this project first found a home across rooftops in Detroit’s Harmonie Park.

Now Sauvé is busy making additions to the public art of New York City’s Governor’s Island, until 1995 an active Coast Guard post and now a public attraction. Since late last summer the sculptor has been on site, supervising the installation of another giant series, which have also made appearances in New York City’s High Line and in front of Chicago’s Merchandise Mart.

Governor’s Island can expect several dozen of the imagination-capturing sculptures in all, which will go a long way to beautifying a landscape recently returned to the people of New York.

If you thought you scored big back in the day when you discovered your older sister’s diary and mined it for blackmail, then get yourself to the Brooklyn Museum, fifth floor. There you can peep on pages straight from the rarely seen journals and sketchbooks of a young Keith Haring, and catch a glimpse of the early brilliance that inspired the evolution of street art as we know it.

The show is the first large-scale exhibition that explores Haring’s early career. In addition to archival objects such as sketchbooks and experimental videos, there are about 155 works on paper, including 30 of Haring’s iconic black-and-white subway drawings. Haring was no stranger to damp cell floors, and spent plenty of nights locked up for his below-ground work, done in chalk on black pieces of paper and used to cover old advertisements.

Editio Media had the opportunity to review the exhibit earlier this month, and was struck by the unique life in every piece. Though Haring lost his battle to AIDS in 1990, his legacy lives on through his work, which birth to a fantastic world that celebrates life and glorifies unity, but challenges it’s viewers to consider the dangers of becoming just another (empty) body in the crowd.

I am interested in making art to be experienced and explored by as many individuals as possible with as many different individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning, the conception of the piece. I am merely a middleman trying to bring together ideas.

—Keith Haring, journal entry, October 14, 1978

Back in April, INSA, the street artist known for splashing his designs not only on walls, but on women’s shoes, called out for help from his followers. He needed 12 supporters to buy this artwork in order to ship him off to Los Angeles where he would give a building in the downtown district a much needed facelift.

INSA’s artwork sold out in five minutes, and he was on his way that week. Those contributors, who bought INSA’s unique series of paintings on paper, can find their names mixed within the design.

This massive project covers the building back-to-back, making it currently the largest mural in L.A. at 9,300 square feet. The building houses the Art Share L.A. organization, a non-profit dedicated to making art more accessible. The abundance of mismatched windows that cover the building end-to-end are thankfully swallowed by INSA’s detailed work.

The photographer behind these shots is Birdman, known for his photography of street art and galleries.

The work Bleeps stamps out is heavily concentrated in life and death and fundamental subjects involving everyday living. The use of poetry, words, and thoughts in written form are used to engage dialogue between fans of street art, artists, and possibly clueless passersby.

Bleeps faces many of the same adversities that other street artists face: finding a space, the fuzz, and being involved in activism, even though he jokingly says “washing brushes afterwards,” can be one the most difficult aspects.

Back in 2003, Bleeps moved to the U.K. for school, and was inspired by the work of 3D and Inkie. Although having received some art training in Greece and Bristol, Bleeps doesn’t consider those experiences formal training. Since then Bleeps has been making a living by way of “irrelevant” jobs and uses art to express philosophical quests, rather than as a form of income.

Using a technique of whatever materials work best – markers, sprays or acrylics, and a mixed technique based on free painting and stencils – Bleeps creates these thought provoking pieces.  He said he sees his work as “an opportunity to document the present and pass it to future generations, interpreted through my perception,” Bleeps says.

The elaborate fantasy worlds of ASHES 57 created from black poster marker and white paper will be on display for a solo exhibition and after party presented by Lucid London (collective of DJs, producers and artists) and the London-based Rhythm Factory. The opening is a part of the Rhythm Factory’s Monthly Exhibition Series and will continue throughout June.

ASHES 57’s black and white line drawing series have been influential in the underground electronic music scene, and are also influenced by it, often integrating records, mixing boards and flying cassette tapes, within the busy nightscape of each piece.

For the opening ASHES 57 has created a 24-foot mural and a new screenprint called Brick Lane Zoo. The party starts June 7 and will run from 7 p.m. to 3 a.m. at the Rhythm Factory.

When you spend a grip load of money on an iPhone, you obviously want to protect it. Vans had Apple junkies in mind when they created the Vans Phone Case for iPhone 4G or 4GS. This flexible case has a replica waffle sole on the back and the well-known red heel tag on the side. Vans even worked in the toe cap replica on the top of the case. The only foreseeable issue might be that it’s made from flexible rubber, which doesn’t exactly slide in and out of a pocket with ease, but you know what they say: Pain is beauty.

Highlighting the very different but complementary works of Seacreative and BR1, this June 7looks to be full of color and promise.

Turin-based artist BR1 takes a little-known subject – the Muslim woman – and places her in pop cultural contexts that all recognize, while Milanese Seacreative focuses on expressive faces, almost cartoonish in their sincerity and emotion.

For those lucky enough to be in Turin June 7, the opening will run from 5:30 to 9:00, and the show will hang until July 21.