Integrating Roma Into Europe's Future: Change Must Come From Within

As the European Union is intensifying its efforts to promote dialogue with member states on the necessity to fight discrimination and marginalization of Roma minorities in Europe as part of the Decade of Roma Inclusion (2005-2015) and the EU's Europe 2020 strategy, a recent proposition set forth by a French union has sparked outrage after it suggested the creation of a separate bus service for Roma people in the Southern French city of Montpellier. Sadly enough, the French case is not isolated. A similar controversial apartheid-like project was also discussed last year in Italy and many cases of discrimination have been reported in member states with large Roma populations. In this context, a large majority of the estimated 10-12 million Roma living in Europe, six million of them in the EU and the majority in Bulgaria, Czech Republic, and Romania, continue to face social-economic prejudice, exclusion from mainstream education and healthcare, intolerance, xenophobia and stigmatisation. Referred to as Europe's most marginalized minority, they continue to live, for the most part, in very poor social-economic conditions with limited prospects for the future. While difficulties Roma face were recognized by the Council of Europe in 1969, problems persist at the national level where governments fail to successfully implement anti-discrimination legislations towards Roma that would eventually bring about real progress. Today, as European efforts prohibiting discrimination grow - including the Racial Equality Directive - so does the number of Roma asking for justice. It is urgent for national governments to establish frameworks through which victims of discrimination can become aware of their rights and receive fair remedy. 1) Fighting societal stigma Before any discussion can take place, it is important to understand that stigmatization dramatically impairs the desired goals of Roma inclusion measures. More often than not, it is not condemned by national governments and remains a critical barrier to progress. Stereotyping is evident as 85 percent of Italians and 66 percent of French express negative views of Roma. No anti-discrimination and social inclusion policy can take place in an environment of distrust between Roma and mainstream society. In this vein, prohibition of any discrimination targeted towards the Roma is crucial for the creation of solid grounds for a constructive dialogue between national governments and Romani NGOs. Here, a particular emphasis should be put on the necessity for the Roma to take part in the decision-making processes that directly affect them. Initiatives such as the 2013-2014 NET-KARD Project, a cooperation between Italy, Portugal, Spain, Romania under the EU Fundamental rights and Citizenship Programme to fight against Roma discrimination are key to provide relevant information on where successes have been reached and where there is still room for improvement. 2) Fighting segregation at school A second barrier to progress is persistent segregation at school. Discrimination starts at an early age and the segregation of Roma children remains one of the most prevalent indications of discrimination against the community. The high number of Roma children attending special schools for mentally disabled children in countries like Hungary, Latvia, Czech Republic and Romania - to name but a few - is a clear violation of the EU's Race Equality Directive. In Czech Republic and Slovakia, more than 20 percent of Roma children aged 15 and younger attend those special schools, an alarming figure denounced by the EU. Marginalized and segregated from mainstream education, Romani children receive an inferior level of education and fewer opportunities for the future. For a successful social inclusion of Roma into the mainstream community to occur, fostering equal treatment for Roma and non-Roma children in schools is paramount. This issue is of particular importance in the context of an ever aging and declining European population given that the Roma population is young - 35.7 percent are under 15 compared to 15.7 percent of the EU population - and has a real potential to become the future European workforce, as 1 in 5 new labour market entrants in Bulgaria, Romania and Serbia are Roma. 3) Fostering economic integration to promote social cohesion and inclusive growth In addition to segregation at school, Roma face discrimination in all other areas of society, including freedom of movement within the EU, access to housing and healthcare and job opportunities. In Czech Republic, 79 percent of Roma face discrimination when looking for employment. This multifaceted discrimination represents a significant structural obstacle to the community's full participation in society. Yet, integrating Roma into the labor market turns out to be beneficial both economically and socially. A World Bank study reveals that full integration of Roma could result in potential economic benefits of up to Euro 2.9 billion for a country like Romania. With this in mind, allowing Roma people to contribute to the economic development and prosperity of the communities that they are part of could in turn foster a more tolerant climate with greater openness and social cohesion. The social-economic benefits of integrating Roma into the European societies where they belong and offering them the fundamental human rights that they are entitled to as EU and non-EU citizens are tremendous. To address this challenge and break the vicious circle of exclusion and poverty, it is essential for national governments to implement equality legislations so as to finally address the plight of Europe's most misunderstood ethnic minority.

Global African Artists Explore The Meaning Of Disguise In The 21st Century

The Western mythos around masks is familiar, unconcealed. Don a disguise, whether a helmet for a sports match or a costume for a masquerade, and be liberated, freed from a fixed identity and thrown into a space with limitless potential. We often transfer a similar understanding onto the masks worn in African rituals, conjuring visions of supernatural transformations in which the self is abandoned under the cloak of disguise. However, this kind of interpretation requires the wearer of said disguise have a fixed identity to begin with, a stable place from which to depart. What happens when such foundations are complicated, and Western fantasies disturbed? A group exhibition at the Seattle Museum of Art entitled "Disguise: Masks and Global African Art" aims to dismantle our concepts of identity and disguise, commissioning eight artists from Africa and of African descent to address the present and future language of masks, veils, cloaks and screens. Neo Primitivism 2, 2007–14, Brendan Fernandes, Kenya/Canada, b. 1979, 12 fiberglass animals, resin masks, dimensions variable, loan from the artist. © Brendan Fernandes, photo courtesy of the artist Masks of wood and fiber from the SAM collection are propped against contemporary facades incorporating video glitches, immersive environments, and virtual reality. Viewers are prompted to question: How do contemporary artists visualize the lasting human desire to hide from each other and ourselves? What role do such disguises play in understanding gender, race, origin and identity; hybridity, queerness, in-betweenness, becoming? Pamela McClusky, who curated the exhibition along with Erika Dalya Massaquoi, was partially raised in West Africa, growing up around masquerades. "I always thought people didn't really understand them," she explained in an interview with The Huffington Post. "Museums tend to collect masks but not full masquerades. I always felt they didn't know what they're missing." McClusky was also skeptical of the ways African masks were most commonly integrated into Western culture, via artists with little knowledge of their origins and purpose. "I also have a little bit of a vengeance streak against Picasso and that era where they put masks on naked bodies in works like 'Les Demoiselles d'Avignon.' It was an aberration to the African context they came out of." The Last Supper in Havana, 2009, Hasan and Husain Essop, South Africa, b. 1985, pigment print on cotton rag paper, 25 1/4 x 36 1/4 in., Josef Vascovitz and Lisa Goodman. © Hassan and Husain Essop, Photo courtesy of the artist and Goodman Gallery Traditionally, African masks are made to be worn as part of masquerades, rites central to many (but not all) healing and problem-solving rituals. Many of such masks reside in the SAM, plucked from their former lives as performative vessels and plopped into the white walls of the museum, to be carefully examined but never touched. Visitors encounter these ritual objects, casting onto them a self-fashioned understanding of their original purpose. However, often these stories fail to encapsulate the true purpose of the masks, revealing more about viewer than work. Additionally, the normally sterile and hegemonic setting of the museum space isn't the most compatible with the vibrant aura of the masks. "I think for a lot of people museums have an austere sensory diet that you go on when you walk in where you look at one thing at a time," McClusky said. In response, the curator remixed the traditional museum setup, allowing past and present interpretations of disguise to reverberate off each other. While viewers walk through "Disguise," a soundtrack plays in the background, turning the galleries into immersive environments with plenty of play between African masks and their contemporary counterparts. "In one gallery, we set up four older masks and they're looking at screens of 21st-century masks that are adapted from their image, so it looks like the masks have been watching TV all day." The artists on view each communicate a distinct worldview and relationship to the notion of disguise. Jacolby Satterwhite crafts virtual masquerades based on his mother's impossible inventions, while Walter Oltmann crafts ornate wire sculptures which catalyze metamorphosis. Each artist disrupts the standard narrative of a mask as a means of liberation or escape, instead questioning what additional factors contributed to this mythology as the conventional understanding of disguise. Neo Primitivism 2, 2007–14, Brendan Fernandes, Kenya/Canada, b. 1979, 12 fiberglass animals, resin masks, dimensions variable, loan from the artist. © Brendan Fernandes, photo courtesy of the artist. What happens when African authenticity mingles and merges with Western fantasy? And does such an authentic African identity even exist? This question is at the center of artist Brendan Fernandes' work. "I grew up in Kenya. My family moved to Canada, and now I live in the U.S., so I've always been negotiating this idea of identity," Fernandes explained to HuffPost. "People always ask, who are you, where are you from? And I'm from a lot of places. Identity is something that is constantly changing and in flux. We want them to be static, but they're always changing and moving. Because of that, I use the term 'authenticity' a little bit tongue-in-cheek." For "Disguise's Neo Primitivism 2," Fernandes unleashed a herd of 12 fiberglass deer, all donning identical white resin masks, throughout the gallery. "The masks were bought on Canal Street and cast into these plastic kids party masks," Fernandes said. "And then there are the fake deer, which are used in hunting to attract real deer. So we have two fake objects. The mask itself embodies the political attributes of a Kenyan nomadic male warrior, but in Kenyan tradition we don't wear masks. So somebody made this mask up and sold it as a souvenir in an African market on Canal St. These fake masks that have their own identity that's made up and created. How is that real? How is that authentic?" And yet, together, the fake deer and the fake mask form a new creature, an original amalgamation of fakeness. "When you put the mask onto the deer, it takes away the decoy function of the deer. It becomes a hybrid. Hybridity is something I'm contemplating. The idea of becoming, queering, a transitional space." Hybridity also serves as a central concept for artist Saya Woolfalk, whose multimedia works revolve around a mythical species called "The Empathics." The virtually crafted hybrid breed, part plant and part animal, are an impressionable bunch, to say the least. Woolfalk's species literally absorbs its cultural influences and physically mutates as a result. "The Empathics," much like many Americans, are constantly shifting, digesting and evolving in reaction to external influences. Chimera from the Empathic Series,2013, Saya Woolfalk, American, b. 1979, still from single-channel video, 4:12 minutes, © Saya Woolfalk, photo courtesy Leslie Tonkonow, Artworks + Projects, NY For Woolfalk, whose father is African American and white and whose mother is Japanese, masks aren't just disguises, they're body parts, launching pads. "My work has to do with the aspirational embodiment of something that we may or may not inhabit yet," Woolfalk explained. "The idea of masking isn't necessarily this sort of -- performing an identity." "For this project, I thought a lot about ideas of diaspora. What is the diasporic notion of a performance? What does it mean to be a contemporary global citizen? How can an installation make someone feel the way a global citizen might feel if they weren't displaced, if they were actually located and welcomed?" Woolfalk's video, somewhere between a children's science performance and a psychedelic drug trip, allows viewers to enter into this state of hybridization, eating up cultural stimuli and reflecting them accordingly. "When I talk about a global citizen, I'm not talking about the people who fly around from place to place. It's the idea that we're constantly changing, responding to the influx of the people that we encounter on a day-to-day basis. I mean people who are constantly changing responsibly to the myriad people of cultures around the world." Muses series, 2015, William Villalongo, American, b. 1975, 7 paper collages in plexiglass vitrines, 23 1/2 x 18 in., Courtesy of the artist and Susan Inglett Gallery, New York. © William Villalongo, Photo courtesy of the artist and Susan Inglett Gallery, New York. "Disguise is a common phenomenon that we all share," McClusky said. "But artists are showing us ways to work with that within in a multitude of media, and are able to give us suggestions of ways to rework that side of our lives." The simple trope of mask as escape doesn't quite hold up to the 21st-century notions of identity and origin. The artists of "Disguise" reveal other ways to hide, to play, to shape-shift, to pretend, to erase: all without showing your face. The exhibition runs until Sept. 7, 2015, at the Seattle Art Museum, and then will travel to the Fowler Museum at UCLA from Oct. 18, 2015, to March 13, 2016, and to the Brooklyn Museum from April 22 to September 11, 2016.

Obama Administration On Plan To Take Away CIA's Drones: Nevermind, Keep 'Em

WASHINGTON -- President Barack Obama has abandoned his two-year push to consolidate his controversial targeted killing program under Pentagon control and has spent the past several months finalizing a new plan that would give the Defense Department and the CIA joint control of drone strikes, sources tell The Huffington Post. Two years ago, Obama promised during a speech at the National Defense University that he would move the CIA's controversial drone program out of the covert shadows and into the relative sunlight of the Defense Department. Drone critics greeted the announcement with cautious optimism, hoping that a Pentagon-run drone program would be more transparent and allow more oversight of targeted killings. The CIA and its allies on the congressional intelligence committees resisted Obama's proposal. But until recently, the Obama administration was still publicly pushing forward, saying as recently as April that it wanted to take the trigger out of the CIA's hands for good. Behind closed doors, all of that has changed. On June 10, administration officials gave a classified briefing to lawmakers laying out a blueprint for a new transition plan that would involve a dual command structure. That blueprint is all but complete, U.S. officials briefed on it said. "About 95 percent," one U.S. official who attended the briefing told HuffPost. "The 5 percent is details." The White House's stark departure from its promises isn't sitting well with everyone. Although the CIA and Pentagon have both backed the new plan, lawmakers aren't convinced that the two bureaucracies -- each of which has long charged that the other isn't qualified to manage the drone program -- can finally cooperate. "[The White House] was almost laughed out of the room," said another official in the June 10 briefing. "It was just totally unworkable. It was dual command... that's not what the president's direction was." The officials who agreed to speak with HuffPost requested anonymity to discuss the still-classified plan. The first source said that although the White House publicly implied it wanted to end the CIA's drone program, that was never a realistic objective. "It's more centrally operated than they may have originally intended, but the intention was always integration," the source said. The White House declined to comment, but one administration official suggested the president had never intended to end the CIA program entirely. "The broader point is we're not going to shut out any part of the United States government," that administration source said. "Especially one that has the expertise and experiences that is useful across a range of means." That includes analytical and operational capabilities, the official continued. Control of the drone program has long been a tense issue in Washington. The notoriously independent CIA is infamous for its tendency to not play nice with others, and suspicions abound in the beltway that the agency frequently trash talks the Defense Department, charging that they're not as precise nor careful as the CIA. The Pentagon's backers, meanwhile, have long insisted that soldiers, not spies, should be in charge of paramilitary operations, and CIA critics have argued that the agency's program is unchecked, citing the errant strike that took out two Western hostages, including an American, in Pakistan in January. The CIA declined to comment for this story. The Pentagon did not respond to a request for comment. On Capitol Hill, the CIA's defenders -- many of them on the Senate Intelligence Committee -- have lauded the agency's precision and care in conducting strikes, and insisted the CIA's oversight is second to none. Meanwhile, the Senate Armed Services Committee, led by Chairman John McCain (R-Ariz.), has consistently pushed to have the program moved fully to Pentagon control -- and under that panel's oversight jurisdiction. The CIA's boosters succeeded in stymying the White House's plans last year. Dianne Feinstein (D-Calif.), who was then serving as chair of the Senate Intelligence Committee, prevented the White House from using federal dollars to end the CIA drone program by tacking a classified amendment onto a massive 2014 federal spending bill. Her measure passed, and further slowed the already slow trudge toward an overhaul. This year, McCain has led an effort to insert his own language into the National Defense Authorization Act -- the annual must-pass defense spending bill -- that would bolster the president's plan to overhaul the program. But a third U.S. official familiar with both McCain's proposal and the June briefing said the language is fairly benign. McCain, who has long championed shifting the program to Pentagon control, was forced to water down his measure to get his colleagues on the Intelligence Committee to support it. The same factor that caused Obama to want to take the drone program away from the CIA may be part of the reason the agency is holding onto it: As covert operations, the agency's drone strikes aren't subject to the same international laws and domestic oversight as the Pentagon's. The CIA can more easily operate in countries such as Pakistan, where local governments may not necessarily sign off on U.S. strikes. But the demise of the president's plan may have less to do with geopolitics and more to do with the government's internal power struggles. "This is the classic example of the bureaucracies resisting even the president of the United States," the first official said. "They've reached some unholy Faustian bargain... it's unworkable."

Vancouver Riot Kiss Photo Couple Still Together, Proves Love Is Real

Four years ago this month, the Vancouver Canucks lost in the seventh game of the National Hockey League's Stanley Cup finals. The city erupted in riots shortly afterwards, as it is wont to do on such occasions, with the normally docile downtown descending into chaos. Amid the tear-gas and burning cop cars, photographer Rich Lam took an now-famous photo of a couple sharing a kiss while lying in the street. The riot kiss image spread almost instantly through international media outlets and spurred a slew of online memes, as mystery grew over the identity of the couple. Days after the Canucks' defeat, the duo were identified as Canadian Alex Thomas and Australian Scott Jones, after the latter's family members named them to the public. Now, a few years later, The WorldPost has learned that Thomas and Jones are still together and living in Australia, in a sign that at least one good thing came from the city's multimillion-dollar destruction. Police on horseback ride through the street past a fire on June 15, 2011, in Vancouver, Canada. (Photo by Rich Lam/Getty Images) "It's been four years and Alex has applied for citizenship," Jones told The WorldPost. The two share a place in Melbourne, where Jones is a bar manager and Thomas works in sewage planning and wastewater treatment. While Jones says the photo has affected their lives "not a hell of a lot," it still pops up in surprising ways from time to time. "There was a journal article that referenced it, and I couldn't believe that there was this photo in academia like that," Thomas told The WorldPost. "People send us links where it makes top lists of whatever category they put it in," said Jones. The photo was taken just days before the two were set to go on vacation, Thomas said. Caught up in the rioting, she was knocked down as police attempted to clear the street, and was comforted by Jones, who she'd been dating for six months at that point. Though Jones and Thomas are now out of the media spotlight, Jones says they did get a memento in addition to the memories. "Rich Lam, who took the photo, he gave us both a copy of it that he signed, and we have one of those up in the bedroom." Riot police walk in the street as a couple kisses on June 15, 2011, in Vancouver, Canada. (Photo by Rich Lam/Getty Images)

Coney Art Walls: 30 Reasons to Go to Coney Island This Summer

The gates are open to the new public/private art project called "Coney Art Walls," and today, you can have a look at all 30 or so of the new pieces by a respectable range of artists spanning four decades and a helluva lot of New York street culture history. We've been lucky to see a lot of the action as it happened over the last five weeks and the range is impressive. These are not casual, incidental choices of players lacking serious resumes or street/gallery cred, but the average observer or unknowing critic may not recognize it. How & Nosm (photo © Jaime Rojo) By way of defining terms, none of this is street art. These are murals completed by artists who are street artists, graffiti writers, fine artists and contemporary artists. In the middle of an amusement park, these are commissioned works that respond in some way to their environment by 30 or so local and international heavy hitters, and a few new kids on the block, comprising a 40+ year span of expertise. Open to many strata of the public and fun-seekers who dig Brooklyn's rich cultural landscape, this outdoor show will surely end up as backgrounds for selfies -- while perhaps simultaneously elevating a discourse about the rightful place of graffiti/street art/urban art within the context of contemporary art. Okay, maybe not such loftiness will result, but let's not rule it out entirely. How & Nosm (photo © Jaime Rojo) It should come as no surprise that it is the dealer, curator, perennially risk-taking showman Jeffrey Deitch who is the ringmaster of this circus, or that the genesis of this cultural adventure is perplexing to some who have greeted his newest vision with perplexity and derision. His Deitch Projects and related activities in the 2000s regularly presented and promoted the street-inspired DIY cultural landscape, having done his due diligence and recognizing that new life springs from the various youth movements always afoot. The Jeffrey-conceived "Art Parade" itself was a street-based all-inclusive annual panoply of eye candy and absurdity; inflicting humor, sex, gore, fire, glitter and possibility into the minds of Manhattan sidewalk observers. As MOCA Los Angeles director Deitch also flipped the script with his "Art In The Streets," organizing a vast survey of a half-century of the modern grassroots genres including graffiti/street art/urban art/tattoo/punk/hip-hop/skater culture that far surpassed anyone's predictions for audience attendance and public engagement. Aside from tripping wires and a public misstep here and there, the show earned critical praise, pinched art-school noses, and pushed skeptical institutions and patrons to question their prejudices. It also gave voice to a lot of people. Daze (photo © Jaime Rojo) Notably, that MOCA exhibit drew a little over 200,000 attendees in four months. Coney Island beach and boardwalk gets about 14 million annually. Even if the Smorgasbord pop-up village food trucks feed a fraction of that number, there will be more folks viewing art and interacting with it here than, say, the Four Seasons dining rooms, which also display street artists and contemporary artists in the restaurants' artistic programming. Side by side comparisons of Smorgasbord/Four Seasons diners ethnic diversity, income, age, education level, museum board membership or real estate investments were not available at press time. But neither can be fairly described as exploitative to artists or audience without sounding patronizing. Daze (photo © Jaime Rojo) These multicolored and monochromatic murals illustrate a wide and balanced smorgasborg of their own; examples of myriad styles are at play with some engaging in activism and local politics and Coney Island history. From original train writer Lady Pink to aerosol drone sprayer Katsu, from El Seed's lyrical Arabic calligraffiti to Retna's secret text language to graffitist-now-collagist Greg LaMarche, from Shepard Fairey's elegant Brooklyn salute to polluters and blasé consumerism to Tatiana Fazlalizadeh's spotlight on current Coney Island neighbors, from urban naturalist ROA's monochrome marginalized city animals to How & Nosm's eye-punching and precise graphic metaphors, you are getting a dizzying example of the deep command Deitch has of this multi-headed contemporary category that is yet to settle on a moniker to call itself. Crash (photo © Jaime Rojo) Coney Art Walls assembles world travelers from NYC and LA and Miami and internationally; Belgium, Barcelona, Brazil, Paris, Tunisia, London. Some are 80s Downtown NYC alumni, others were train writers in the '70s, or big crew graf heads and taggers from the decades after. Some are considered historical originators of a form and cross-genre risk takers pushing beyond their comfort zone. Take a close look and you'll find names that are in major collections (private, institutional, corporate) and that go to auction. Crash (photo © Jaime Rojo) Some are regularly showing in galleries and are invited to street art festivals, exhibited in museums and discussed in academia and print. Others have studio practices spanning three decades, are lecturers, panelists, authors, teachers, community advocates, art stars, reality TV personalities, film actors, product endorsers and art product makers working with global brands. One or two may be considered global brands themselves. A handful have been painting on the streets for 40 years. Monolithic, they are not. One more notable aspect occurred to us as we watched this parade making its peregrination to these summer walls -- either because of Deitch or the romance or history of Coney or both; When you are looking at the range of ages and ethnicities and family configurations and listening to the variety of accents and opinions expressed and seeing the friendly but tough-stuff attitudes on display -- you might guess you were in Brooklyn. You are. Futura (photo © Jaime Rojo) Futura (photo © Jaime Rojo) Shepard Fairey (photo © Jaime Rojo) Shepard Fairey (photo © Jaime Rojo) Jesse Edwards (photo © Jaime Rojo) Jesse Edwards (photo © Jaime Rojo) Irak (photo © Jaime Rojo) Lady Pink (photo © Jaime Rojo) Lady Pink (photo © Jaime Rojo) Ben Eine (photo © Jaime Rojo) Ben Eine (photo © Jaime Rojo) Ben Eine (photo © Jaime Rojo) Maya Hayuk (photo © Jaime Rojo) Maya Hayuk (photo © Jaime Rojo) Lady Aiko (photo © Jaime Rojo) Lady Aiko (photo © Jaime Rojo) Buff Monster (photo © Jaime Rojo) Buff Monster (photo © Jaime Rojo) Miss Van (photo © Jaime Rojo) Miss Van (photo © Jaime Rojo) Jason Woodside (photo © Jaime Rojo) Jason Woodside (photo © Jaime Rojo) Ron English (photo © Jaime Rojo) Ron English (photo © Jaime Rojo) AVAF with Rage Johnson (photo © Jaime Rojo) El Seed (photo © Jaime Rojo) El Seed with Martha Cooper (photo © Jaime Rojo) Kenny Scharf (photo © Jaime Rojo) Mr. Cartoon (photo © Jaime Rojo) Jane Dickson (photo © Jaime Rojo) Jane Dickson (photo © Jaime Rojo) Skewville (photo © Jaime Rojo) Skewville (photo © Jaime Rojo) Marie Roberts (photo © Jaime Rojo) Marie Roberts (photo © Jaime Rojo) Tatyana Fazlalizadeh (photo © Jaime Rojo) Tatyana Fazlalizadeh (photo © Jaime Rojo) Greg LaMarche (photo © Jaime Rojo) Gregg LaMarche (photo © Jaime Rojo) Katsu (photo © Jaime Rojo) Retna (photo © Jaime Rojo) ROA (photo © Jaime Rojo) ROA (photo © Jaime Rojo) ROA (photo © Jaime Rojo) ROA (photo © Jaime Rojo) Kashink (photo © Jaime Rojo) Kashink (photo © Jaime Rojo) Kashink (photo © Jaime Rojo) Kaves (photo © Jaime Rojo) Kaves (photo © Jaime Rojo) Kaves (photo © Jaime Rojo) Kaves (photo © Jaime Rojo) Kaves (photo © Jaime Rojo) Lauren Halsey (photo © Jaime Rojo) This article originally on Brooklyn Street Art.