In this obligatory, Valentine’s Day post, I found a black heart shape made from the remains of an industrial adhesive. My guess would be it was used to glue a sign to the stucco wall. Now it seems to carry so much unintended meaning. All the big existential human conditions are here, love, loss, memory, time, etc., as well as some more sinister cultural impacts, a black heart, dripping with animosity stains the rough surface defying the smooth, clean modernist world, forgotten but yet stubbornly remaining as a reminder of our search and our loss.

Midtown, Manhattan.

Red Hook, Brooklyn.

Often the best graffiti integrates itself into the environment to change our perspective (hopefully, for the better).

Sometimes word choice is determined by the space available. I don’t think that’s the case in this situation. I think it’s an inside joke at the sign shop.

This logo for the New York City Transit Authority was only in use from 1962-1968, yet it still adorns the side of a building in South Brooklyn.

Brand management this is not. Brand oversight is more appropriate. Maybe it’s just a matter of expense, but still…44 years? I think they could have saved up the money to change or at least remove it. Perhaps they don’t even own the building anymore.

There’s something at firs odd, but then somehow comforting in this sign. The angled background shape and highly italicized “super” sans-serif typeface contrasting with the old school slab serif “P” with the heavy drop shadow. Plus the white shape being corner cut to match the angle of the black background. It’s all a little bit circus and a little bit modern. It’s a little bit country and a little bit rock ‘n roll.

Upper West Side, Manhattan.