Check out the latest issue of Swindle Magazine for Jon’s article and interview about Blek Le Rat:

Long before there was “street art” as we now know it, there was Blek le Rat. He was one of the first graffiti writers in Europe; one of the first people to use stencils to make public art on the street; one of the first (if not the first) to break away from the dominance of New York graffiti style; and one of the first to use icons instead of writing his name. He has been an inspiration to artists all over the world, from Jay BadBC to Ozeas Duarte to Shepard Fairey to Banksy (whose work is often an homage to Blek’s iconography). (more…)

More press and interviews keep coming in.

From IGN.COM “At the core of the film is a poignant social statement about public space and the war being waged for it by major corporations, the forces of gentrification, and the street artist rebels that express themselves on urban surfaces around the world. This makes for a provocative, and entertaining film that deserves to be seen. . . . we’ll never think the same way again about public space again.”

Interview with Jon Reiss in Giant Magazine.

An extensive interview with director Jon Reiss by Mark Malora for an new Online Talk Show Blip TV

And Tracy Wares and I with Indiwire

We had an incredible turn out to see Bomb It at the Tribeca Film Festival. We sold out at everyone of our screenings and sadly had to turn people way at the door because the demand was so high to catch Bomb It on the big screen.

See what our fans had to say:

Bomb It’s Audience Reaction Video Clip

Here’s what the NY SUN had to say about Bomb It in a review of select films at the 2007 Tribeca Film Festival:

Jon Reiss’s whirlwind tour of legible landscapes hits New York, Paris, Capetown, Sao Paulo, and Los Angeles, pumping to a can’t-stop eclectic soundtrack that spans electric funk and endearingly awful French lounge techno. Local artists, some masked, offer a panoply of international styles, architectural canvases, and street philosophies.

“Bomb It” also elucidates a dazzling irony. Graffiti’s organic urban culture, forged in the 1970s, has essentially been succeeded today by corporate billboards and screens, which also scrawl all over building surfaces. Here then is a landscape film that hands you a new model for looking at New York’s tangled mediascape — a fitting selection for a festival looking to make its mark on an ever-changing city.

Read the full article here 

Indiewire caught up with us at Tribeca and here’s the video of Eugene Hernandez’s interview: