Search: wk interact

WK Interact Pop-Up Exhibit Celebrates Book Release of WK/ACT4 and 25 Years of Art

October 23, 2014

A pop-up exhibit — celebrating the release of WK‘s fourth book WK/ACT4 (DRAGO) and the launch of his partnership with KLINIK — opened on Tuesday evening at The Garage in Manhattan’s Meatpacking District. A huge range of work — from mixed-media installations to huge murals — is featured. Here’s a sampling:

Close-up from huge mural featuring locations and images of WK‘s works in NYC public spaces

And the book

The exhibit continues until Wednesday at 22 Little West 12th Street. It remains open from 12 – 6pm.

Photos by Dani Reyes Mozeson

{ 0 comments }

Miki Mu on BedStuy Walls Mural Festival with: Carlos Rodriguez, Jason Naylor, Chelsea Garcia, Manuel Alejandro, Will Power, Belowkey, Andre Trenier, Megan Olson, Olga Correa, Nac 143, OG Millie, Bom5 & More

October 31, 2022

I recently had the opportunity to speak to BedStuy Walls Mural Festival founder and chief curator Miki Mu about the hugely successful community arts festival held earlier this month on Lexington Avenue and Do the Right Thing Way in Bedford Stuyvesant, Brooklyn.

This is all so wonderful. What was your initial inspiration for this project?

This is my neighborhood. I’ve lived in Bed-Stuy for over ten years. I was interested in celebrating and beautifying my neighborhood. And I know the huge power of art to uplift a community! I also wanted to create a space where people and businesses in my neighborhood could interact. My vision for this particular project began about a year ago.

How did you secure these walls? They are in such a prime spot, and these murals have totally transformed the entire block.

My neighbor introduced me to the owner of one of the the businesses on the block. But there were many challenges to actually securing these walls. It was not an easy task!

What were some of these challenges that you encountered in seeing this project through?

After I did secure the walls, I had to get a permit to close the block for the day of the festival. The walls and sidewalk had to be primed in advance. I had to purchase supplies. The entire project was quite expensive. I set up a Go Fund Me, but I did have to cover most of the expenses myself.

You have here such a wonderful range of artists here — from legendary graffiti writers to noted contemporary urban artists to newer emerging ones. How did you get the word out to the artists?

We started an Instagram account, and the word quickly spread. So many artists expressed interest in participating — far more than I could have imagined. I still get requests!

How did the community respond to the event?

The response was tremendous! The community loved it! Families came out, and there were so many kids…jumping rope, dancing to the hip-hop music, making art and simply having fun! It was wonderful — actually better than I had anticipated! But I never could have done this alone; there were many folks whose generosity made this possible. Among them are: Chateau Brooklyn for serving as our mothership, headquarters and base; Badman Bus aka Cookie Monster Bus for providing music and a sound system; all of the DJ’s for volunteering their talents; Cheryl Foy, a retired teacher and resident of the block, for helping us secure the block permit and Joe Cirano from Rogers & Sons, the owner of the walls; the Blue Bus Project for providing activities for the kids; Radial Park for lending us ladders; Project Barkada, also, for lending us a ladder and scaffolding; Solidarity Movers for helping us move all the equipment from one location to another and for providing, as well, a fun activity for kids; Black Men Build, Black Chef Movement and Josiane Lysius for providing free food; Loop Colors for adding extra cans to our order; Frankie Velez, my co-curator, for assisting and supporting my efforts in every aspect of this project, and, of course, all of the artists for generously sharing their skills and visions with us.

What’s ahead?

I would like to make the BedStuy Walls Mural Festival an annual event and eventually attain non-profit status.

That would be wonderful! Congratulations!

Images

1. Carlos Rodriguez

2. Jason Naylor

3. Chelsea Garcia to the left of Manuel Alejandro

4. Will Power

5. Belowkey

6. Andre Trenier to the left of Megan Olson and Olga Correa

7. Nac 143 (left), OG Millie (center), Bom5 with character by Miki Mu (right)

Photo credits: Lois Stavsky

{ 1 comment }

ELBOW-TOE on Eleven Spring, Wooster Collective, Street Art and more

November 28, 2016

To celebrate the launch of the new book from Wooster Collective, ELEVEN SPRING: A CELEBRATION OF STREET ART, artist ELBOW-TOE remembers the historic event and its impact on the world of street art.

I was talking to a younger artist the other day about street art that I was involved in as opposed to murals — which she considers street art — and she said, “Oh, you mean vandalism.”

How did we get here?

I recall the moment that I knew I wanted to be a street artist – I was at work, and one afternoon, my friend pointed me to this post on a blog I had never heard of called Wooster Collective. It was an image by an artist who had photoshopped street signs, so that they looked transparent from the correct angle. It was absolutely magical. How did it get there? Who was the artist? I had seen some street art around over the years: WK Interact when I was in school in the early 90’s and around the early 2000’s quite a bit of NECKFACE around the corner from a print shop I was using.

As I began to explore the archives of Wooster Collective, I saw that there was in fact a community that had built up around these random acts of art that I had paid little heed beyond the internal “huh, that’s interesting.” What was truly fascinating about the work was that, aside from a moniker, the work was anonymous. In that anonymity there existed a mystery. It elevated even the most banal work, purely by the act of risk that was involved. And for the first time in over a decade in the city, it pulled me out of my tunnel vision and got me looking at the walls as spaces to be activated.

The Wooster Collective site was such an impeccably curated space that it got people outside of the movement to give it their attention. Having known the Schillers over those early years, I, of course, was head over heels when I was asked not only to be involved in their secret project but to be given a coveted space on the main floor. At the time I don’t think any of us realized that this exhibition would have the impact that it did.

11 Spring was truly a transformative exhibition; it reflected the very transition that would occur wholeheartedly in this movement just by walking from the outside of the building to the inside. The exterior of the building still had the raw power of getting your work up. The work was often messy and might last only a few hours before being covered by a new piece. Contrast the organic energy of the ever-changing composition on the shell with an impeccably curated show inside the five floors of a gutted building, where all these artists were able to truly flex their technical and creative muscles without concern of the work being damaged or transformed by others.

It was this mercurial quality of traveling from the outside to the inside and then back out again that gave this show such power in my opinion. I am not sure that there is a direct correlation of this show to the mural program that followed, but it certainly opened a larger audience up to the possibilities of their public spaces’ potential.

I will always cherish the experience.

Note: With its outstanding documentation, along with an introduction by Shepard Fairey and an afterword by JR, ELEVEN SPRING: A CELEBRATION OF STREET ART captures an important moment in the history of the movement. Tomorrow, Tuesday, November 29 — from 6:30 to 8:00 PM — Marc and Sara Schiller, along with FAILE, Lady Pink, Michael DeFeo, and WK Interact, will be at the Strand for a special signing and celebration of the book’s launch. You can buy tickets to the event here.

Images

1. COVER, ELEVEN SPRING: A CELEBRATION OF STREET ART

2. ELBOW-TOE (BRIAN ADAM DOUGLAS), EVERYBODY’S GOT ONE, MADE WITH WOOD BURNER, YARN, AND PAINT. PHOTO ELBOW-TOE

3. WK INTERACT, THE FIRST ARTIST INVITED INSIDE THE BUILDING. PHOTO JAKE DOBKIN

4. 11 SPRING STREET, THE DAY OF THE OPENING. PHOTO JAKE DOBKIN

5. SHEPARD FAIREY, HARD AT WORK, MAKING IT LOOK EASY. PHOTO WOOSTER COLLECTIVE

6. BARNSTORMERS’ COLLABORATION WITH PAINTINGS BY Z¥$, DOZE GREEN AND KENJI HIRATA. PHOTO JAKE DOBKIN

7 JUDITH SUPINE AND DAVIDE ZUCCO (R3KAL), THERE IS HELL IN HELLO. PHOTO DONALD DIETZ

{ 0 comments }

Speaking with Mike Baca and Fernando Romero of UR New York

April 24, 2013

We recently had the opportunity to speak to the dynamic Mike Baca aka 2ESAE and Fernando Romero aka SKI of the collective UR New York at Pop International’s new pop-up location at the Atrium at 153 East 53rd Street – where a vibrant new series of the talented duo’s art is on view.

When was UR New York born?

Mike: It started back in 2002 as a clothing line. But it died out for a while.

Fernando: Then in 2011 we revived it as an art collective.

You two are such a great team. How did you guys meet?

Fernando: We met through a mutual friend in 2005.

What would you say is the key to your success as a team?

Fernando: We don’t let the success get to us. We do what we do because it feels right. As individuals we’re strong, but when we work together as a team, we are even stronger. And we are like brothers.

Do you guys have a mission of some kind?

Fernando: It’s all about individuality. Most people are sheep. The message is: Don’t be sheep. Be who you are, and be the best that you can be – whoever you are and whatever you do.

Have you a formal art education?

Mike: I went to the High School of Art and Design.

Fernando: I graduated from Parsons in 2006.

Any thoughts about art school, Fernando?

It was an amazing experience. I met so many talented people – students and teachers — and I now have friends from all over the world.

How has your work evolved in the past few years?

Fernando: We’ve begun to focus much more on detail. We experiment with different styles and variations of colors.

Mike: We’ve learned how to step out of our comfort zone.

How do you feel about the movement of graffiti into galleries?

Fernando: Even though it’s been going on for awhile, it’s a process. It will take awhile for graffiti to be accepted by the art establishment.

Mike: As long as you keep it real, it’s a great platform. And at this gallery – Pop International – a percentage of our sales goes to CAW, a non-profit that offers free arts workshops to kids uptown.

Tell us something about your experiences here at Pop International and CAW.

Mike: It’s been awesome. The folks here at Pop International are like family to us. And through CAW, we’ve been working with kids. It’s great serving as role models.

Fernando: Definitely. It’s been a great experience. And we get to hang out in this gallery and see our artwork hanging alongside the likes of Keith Haring and Basquiat!

Who are some of your favorite artists?

Fernando: Among my favorites are: KA, Belin from Spain and my partner, Mike Baca!

Mike: I like Skewville, REVS, Smart Crew, KA and See One.

Any thoughts about the graffiti/street art divide?

Mike: I can appreciate street art. I like the way it interacts with the environment. But there’s a natural tension between graffiti writers and street artists, as many writers risked their lives to make their mark. But we’re all in this together, playing in the same arena.

Have you any first graffiti memory that comes to mind?

Mike: I remember finding a can of spray paint in my basement. I took it to school with me and wrote my name in the schoolyard. I got suspended.

Fernando: I was about six years old when I saw my cousin writing for the first time in Astoria, Queens. By the time I was ten, I started writing my name around my neighborhood.

What percentage of your time is devoted to art?

Mike: My whole life is devoted to art. I don’t have a day job, and I almost never sleep.

Fernando: When I’m not making art, I’m thinking about what I’m going to make.

Any artists out there you’d like to collaborate with?

Fernando: How and Nosm, Os Gemeos, C215, Jose Parla, Doze Green, WK Interact…

Mike: If I could collaborate with anyone, I’d choose Blu, Roa and Mode.

Any thoughts about the role of the Internet in all this?

Fernando: I see it as good and bad. It’s good because it can give an artist mass exposure. But – at the same time – a nobody can become a somebody. And that’s not good.

Mike: The Internet is the devil. There’s just too much information out there. But on the plus side, you can get to show your work anywhere.

Any theories as to why graffiti is more embraced in Europe than here in the US?

Mike: People are more relaxed there and more appreciative of everything.

Fernando: Europeans are generally more open than Americans. They’re more laid back. Art has been a part of European culture far longer, and Europeans tend to respect and appreciate it more.

Which countries have you guys painted in?

Fernando: Australia, Italy, Austria, Israel, Brazil, the Dominican Republic, Canada, much of the US and Puerto Rico.

Any favorite cities?

Fernando: There’s nothing like NYC.

Where do you get your inspiration?

Fernando: Women, cars, buildings…just walking with my eyes open inspires me.

Mike: NYC. It’s a monster. It’s always alive and a constant source of inspiration.

Tell us something about your process.

Mike: It’s organic. We just let it flow.

Are you generally satisfied with your work?

Mike: We always strive to make it better.

What’s ahead?

Mike: Painting on a larger scale; working more with children and curating shows for people who don’t have the opportunities that we have.

Fernando: All that and making five times as much money!

Photos by Dani Mozeson and Lois Stavsky; the two trucks featured are by UR New York in collaboration with KA

{ 1 comment }

Brooklyn Art Haus Presents Exclusive “Sticker Movie” East Coast Premiere This Weekend — January 12-14

January 9, 2024

The following guest post was submitted by street art enthusiast, arts writer and photographer Kristy Calabro

A delightfully versatile and accessible form of artistic expression, sticker art is documented and celebrated in the groundbreaking, AXS Film Fund-winner, “Sticker Movie.” Spanning 23 countries and over 80 artists, “Sticker Movie” offers an intimate glance into this beloved graffiti/street art subculture.

In anticipation of its East Coast premiere this weekend — January 12, 13, and 14 — at Brooklyn Art Haus, I had the opportunity to talk to its director, Will Deloney aka Chilly Willy’s Igloo and producer/writer Sha-Risse Smith aka Agent5Smith.

When did you first come up with the idea of making a documentary on sticker culture?

Will: The idea for “Sticker Movie” started during a serendipitous sticker trade with Sha-Risse Smith aka Agent5Smith. As we chatted, I discovered that she had written a feature film, “Strive,” starring Danny Glover. In pitching the idea of the documentary to her, instantly it became clear – we were the dream team for ““Sticker Movie.” Sha-Risse not only possessed exceptional writing skills, but also proved to be an outstanding producer with an extensive network in the sticker community. Agent and I embarked on a journey that felt truly magical.

Sha-Risse: The idea was swirling around in my head for some time. I knew the work it would take, and I could not do it alone. After trading stickers and vibing over Hendrix, Will messaged me about a collaboration, and I agreed. That was January 3rd, 2021.

What do you think is the main appeal (‘appeel’) of stickers?

Sha-Risse: Stickers appeal to different people for different reasons, but the common factor is that they are low-risk. When getting up, stickers are quick and easy. People are less likely to get caught. But risks can also be financial. Stickers are relatively inexpensive. Someone may not be able to afford a canvas or print, but they can buy a sticker. Artists may not have money for spray paint or supplies, but they can grab a handful of label 228s for free. With stickers, there is less at stake.

Will: First, there’s the nostalgia factor – taking us back to the simpler joys of childhood, getting a gold star sticker for an achievement. I’ve never thought about this until now, but gold stars in video games awarded must have come from that same achievement concept. Also, the compact nature of stickers means artists can transform any surface — bringing creativity to unexpected places. Their accessibility and ease make them the democratic go-to’s of street artists. Collecting and trading stickers fosters a sense of connection and don’t forget their DIY spirit – stickers are the punk rock of the art world: rebellious, personal, and extremely contagious.

Stickers are an escape; they’re therapy, and a way to mark a spot to say, “I was here.” What do you see as the primary advantage of stickers?

Sha-Risse: Stickers are a form of art therapy. When getting up, I exercise, breathe fresh air, and interact with my environment. I often walk for hours around the city putting up stickers and photographing street art. It’s cathartic. The best use of stickers is to simply enjoy them.

Abe Lincoln Jr once said, “Stickers are little bite-sized civil disobedience.” Are stickers the answer to all the capitalist propaganda out there?

Sha-Risse: All street art is the answer to capitalist propaganda. However, stickers are unique. You can put one image in many places fairly quickly. But you can also fit several in one space. Their small size is an advantage. You can send them around the world and get up in places you have never been. Stickers are unmatched when it comes to coverage.

How was it like to experience the “Sticker Movie” premiere in Portland? And why did you choose to show it there first?

Will: From day one, we wanted “Sticker Movie” to be a cinematic experience, and Cinemagic, the magical independent theater in Portland where we screened, was flawless. The city’s vibrant and supportive community of artists, coupled with its thriving street art scene, made it an obvious choice. Portland embraces creativity, and we knew that our film would feel right at home among the eclectic and open-minded residents. Witnessing the genuine enthusiasm was the ultimate reward for the time and energy invested in the documentary. Portland not only hosted our premiere, but it became an integral part of the story we were telling.

Sha-Risse: Overall, my experience in Portland was incredible. There were tears of overwhelming joy and relief. We pulled off three screenings and four events in one weekend. We worked hard. I am grateful to the community of sticker heads and normies who came out to support us. I am thankful for the old and new friends who welcomed me. There was so much love in Portland; I will never forget that experience.

I loved when Slappy says, “When you have stickers, you’re never alone.” Have you any thoughts regarding how stickers bring people together?

Sha-Risse: I encourage others to discover the community organically on their own. Attend a show, make sticker trades, and find individuals you connect with. Do what works for you. Like the art we create, each person’s experience is uniquely theirs. I am not countering Slappy’s line. I wrote it because I believe it. But it is important to know that not everyone’s participation looks the same. That is the beautiful thing about our community. The sticker scene is diverse, and there is something for everyone.

Will: The communal nature of sticker culture is like an unspoken invitation to join a vibrant and inclusive creative tribe. Artists, collectors, photographers, and enthusiasts, drawn together by their love for this pocket-sized art form, share a unique bond that transcends geographical boundaries. The act of trading and sharing stickers becomes a language of its own, connecting individuals who might never have crossed paths otherwise. It’s a beautiful collision of creativity and camaraderie, proving that in the world of stickers, the adhesive that binds us is as strong as the art itself.

Do you want to give shoutouts to anyone who helped make this movie possible?

Sha-Risse: Shoutout to Niceo CM. He supported me throughout this journey, and I want to thank him publicly. Making “Sticker Movie” was challenging, and I vented to Niceo weekly and sometimes daily over the last three years. He listened while motivating me to toughen up and keep going. Also, shout out to Chris Robots Will Kill. He was the first artist to say, Yes, to being in the movie. Without his recommendations and help, we would not have this New York premiere.

Will: I really want to give my shoutout to Agent5Smith. Without her, none of this is possible. She has worked tirelessly with the mantra of “whatever is best for the film.” She has put over three years of her life into this film, and her love and passion for stickers is why we are here. Thank you, Agent. I love you. Also, shoutout to Dazey Phase, our Executive Producers on this journey.

Will there be a Sticker Movie 2?

Sha-Risse: There are some exciting things in the works. Stay tuned!

Produced by Emmy-winning creative studio Pixelated Ideas, it all started with a sicker trade…three years in the making of bringing small stickers to the big screen. When artists see their stickers displayed in diverse communities and in urban spaces, they feel a sense of pride. Connections are fostered locally and globally. Messages and ideas are shared, as mundane objects — like doors, lampposts, and mailboxes — are transformed into mini art galleries. An effective medium for self-expression, stickers, ultimately, unite us, as they bring like-minded people together.

Note: Friday night and Saturday’s screenings are sold out. Tickets can be purchased here for Sunday, January 14, 3 pm matinee, to be followed by a live podcast with City Kitty.

And running concurrently with the movie’s East Coast showing will be an art exhibit at Brooklyn Art Haus curated by SilverTunaStudios.

Note: This guest post was submitted by Kristy Calabro and edited for brevity by Lois Stavsky; all photos courtesy Kristy and Sticker Movie.

{ 1 comment }

Speaking with Sean Lugo

September 3, 2014

Based in Weehawken, New Jersey, Sean Lugo has been sharing his distinct vision and talents with us not only on the streets of nearby Jersey City, but here in NYC, as well. I was delighted to have the opportunity to speak to him.

When did you first get up? And where?

It was back in 1998; I was 17. I tagged up around my neighborhood in Union City, NJ.

Had you any preferred surfaces back then?

Nope! Any open space was fine.

How did your family feel about what you were doing?

I was living with my sister at the time. She thought I was an idiot!

Have you any early graffiti-related memories that stand out?

I remember going to a Mets game with my father and seeing graffiti on the trains and at 5Pointz as we rode by on the 7 line. I was amazed! It was the most graffiti I’d ever seen anywhere. I was about 12 at the time.

What percentage of your day is devoted to art?

Just about all of it! I work as an art handler during the day, and then I spend about five hours each day working on my own art.

Any other interests?

Sports. I love football!

Any thoughts on the graffiti/ street art divide?

I don’t personally feel the divide. They are both outlets for us to express ourselves.

How do you feel about the movement of graffiti and street art into galleries

I like it! I’d like to see even more gallery owners open their spaces to us. Folks who run galleries need to be more aware of what’s going on in the streets.

How you feel about the role of the Internet in this scene?

I think it’s beautiful. It’s connected me to so many others.

Do you have a formal arts education?

No. I’m self-taught.

What’s the riskiest thing you’ve done?

Well, definitely the stupidest was bombing with Werds off the High Line. We climbed up via a truck, and after spending over eight hours up there, we had to jump down to reach the ground.

What inspires you these days?

Concepts. I’m inspired by the masks that people wear as they try to project a false illusion of themselves. Most people are fake. And it is the incongruity between who people appear to be and who they really are that drives my art these days.

Has your aesthetic been influenced by any particular cultures?

I’m influenced by all cultures – but particularly my own, the Spanish culture.

Do you work with a sketch in your hand, or do you let it flow?

I draw everything out, and I like to choose a spot before I draw.

What is your ideal working environment?

A quiet room with any kind of music in the background.

Are you generally satisfied with your finished product?

Yes.

How has your work evolved in the past few years?

It’s become more dramatic, and I engage with it more seriously.

How’s that?

I look at life differently than I used to. On August 1, 2011, I was in a car accident in Jersey City. The guy who hit me died, and I almost did. As a result of this trauma, I’ve come to understand just how brief and fragile life is.

And can you tell us something about wheat pastes – your preferred medium?

Yes, I love using wheat pastes because they perfectly mirror life’s temporality.

What do you see as the role of the artist in society?

To spur others to become more creative.

And what about how society views the artist? Any thoughts as to how others view you?

Too many folks view art as a business.

Any favorite artists who share their work on the streets?

So many! But to name a few: LNY, Ekundayo, Vinz, NoseGo …

What’s ahead?

I want to continue doing art on the streets and interacting more with public space. I’d love to create an entire, interactive scene just using wheatpastes!

Interview conducted and edited by Lois Stavsky; photos 3, 5 and 6 by Lois Stavsky; others courtesy of Sean Lugo.

{ 0 comments }

Search: wk interact

WK Interact Pop-Up Exhibit Celebrates Book Release of WK/ACT4 and 25 Years of Art

Miki Mu on BedStuy Walls Mural Festival with: Carlos Rodriguez, Jason Naylor, Chelsea Garcia, Manuel Alejandro, Will Power, Belowkey, Andre Trenier, Megan Olson, Olga Correa, Nac 143, OG Millie, Bom5 & More

ELBOW-TOE on Eleven Spring, Wooster Collective, Street Art and more

Speaking with Mike Baca and Fernando Romero of UR New York

Brooklyn Art Haus Presents Exclusive “Sticker Movie” East Coast Premiere This Weekend — January 12-14

Speaking with Sean Lugo

Categories