mixed media

A series of distinctly stunning murals surfaced last month in Brooklyn and Manhattan. They are the works of Brazilian artist Raul Zito, created — with the support of  AnnexB — on his first visit to NYC. Raul refers to his artwork as “expanded photography,” in reference to the experimental printing techniques he uses to produce hybrid murals of photographic collage and painting. Based on his research of various forms of resistance, largely in Latin America, Raul’s stirring artwork combines the realism of black and white photography with the organic aesthetic of painting. Pictured above is the artist at work in Bushwick in collaboration with Spread Art NYC.

Completed mural at Harman Walls in Bushwick 

At Sure We Can recycling center in Bushwick 

With the Centre-fuge Public Art Project on the Lower East Side

In Bushwick with Brooklyn Brush based on the documentary “Martírio” by Vincent Carelli, Ernesto De Carvalho and Tatiana Almeida

After visiting NYC, Raul went off to Arizona, where he painted for The Painted Desert Project at the Navajo Nation territory 

And this weekend — beginning tomorrow evening — you can check out Raul Zito‘s work at the Spread Art NYC Annual Art Show, 16 Dodsworth Street in Bushwick, Brooklyn

Photo credits: 1 Annex B; 2 & 4 Lois Stavsky; Paul Fris, & 3, 6 & 7 Raul Zito

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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pablo-power-Gay-science-and-joyous-wisdom

Currently on view at Okay Space at 281 North 7th Street in Williamsburg, Brooklyn is Philly VS New York: A Declaration of Co-Independence. Featuring works — fashioned both individually and collaboratively — by legendary Philly rapper Schoolly D and New York-based multi-disciplinary visual artist Pablo Power, this exhibit is a follow-up to their 2013 exhibition, Am I Black Enough?  Presented by Okay Space and Black Swan Projekt, Philly VS New York: A Declaration of Co-Independence continues through April 1. Pictured above is Gay Science and Joyous Wisdom by Pablo Power. What follows are several more images on display:

Schoolly D, Smoke Some Kill, Ink on paper

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 Pablo Power, Crack Another 40, A Birthday on Chrystie, Mixed media

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 Pablo Power, Dekalb Didactic, Mixed media

Pablo-Power-Dekalb-Didactic

Schoolly D,  Cheeba, Cheeba, Mixed media

schoolly-Cheeba-cheeba

Schoolly D and Pablo Power, Philly Vs New York, Giclée Prints, edition of 30. Release and Exhibit Reception Tonight

pablo-power-and-schoolly-D-collabo

And on this coming Wednesday evening, a series of short films will be screened:

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 Photos of images 1-5 by Tara Murray

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viajero-mixed-media-2016

While visiting CCCADI’s inaugural exhibit in its new East Harlem home, I had the opportunity to speak to one of its curators, Regina Bultron-Bengoa

Just what is CCCADI?

The Caribbean Cultural Center African Diaspora Institute is a multi-disciplinary arts center that showcases and promotes the distinct contributions of African Diaspora cultures.

How would you define its mission?

Through arts, education and activism it strives to advance change by uniting the various cultures of the African Diaspora, while promoting their value.

viajero-installation-close-up

When was it originally established?

Dr. Marta Moreno Vega founded it in 1966 as a center where African and Native cultures of Caribbean and Latin American countries could be recognized and honored. Its first home was on East 87th Street and its last home was in a brownstone in Hell’s Kitchen.

Can you tell us something about its present locale here in this landmark space on East 125 Street in East Harlem?

A few years back, several shuttered landmark firehouses were offered to cultural institutions. With city and state support, nine million dollars were raised to renovate this particular historic one for CCCADI, and on September 16, 2004, we broke ground.

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Who is its audience?

We have a wide audience from students and educators to arts professionals to families. We offer a huge range of free or low-cost exhibits, workshops and activities.

Your inaugural exhibit, Home, Memory, and Future is quite impressive. It is divided into three distinct parts.

Yes. Part I: Harlem: East and West features the works of three acclaimed photographers who have been documenting Harlem since the 70’s. Part II: Harlem and Home in the Global Context showcases artworks that suggest how cultural traditions are used to establish “home” in distant places. And Part III: Mi Quirido Barrio (My Beloved Community) – focusing on the social history of El Barrio — takes place outdoors and in cyberspace, using augmented reality. Among its themes are: migration, nostalgia for the past. gentrification and looking to the future.

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Can you tell us some more about the outdoor element of the exhibit?

Yes. It features locations of importance within the social history of El Barrio. Among these are memorial walls painted on the streets — whose history is documented on a free mobile app, Blippar. Through augmented reality, the app allows us to bring the past to life.

That is quite amazing! How has the response been to CCCADI‘s new home and inaugural exhibit?

The response has been great. There were long lines for the fall opening, and folks who see it love the art and identify with it.

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How can folks contact CCCADI if they would like to visit or become involved?

They can email: info@cccadi.org

Images 

1 & 2 Adrian “Viajero” Roman, Mixed media, 2016

3  Scherezade Garcia, Sea of Wonder, Mixed media, 2016

4 & 5 Oliver Rios & Luis Martinez, Memorial Walls, as seen on the Blippar app while on site

Photo credits: 1-3 Lois Stavsky; 4-5 Courtesy CCCADI

Interview conducted and edited by Lois Stavsky

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For the past several years NYC-based artist and photographer Appleton has been taking his message of diabetic awareness to our streets. While visiting his hugely impressive solo exhibit, Out of the Cold, I had the opportunity to find out a bit about him and his mission:

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The artworks on exhibit here are so impressive.  They are beautifully executed, as well as emotionally and intellectually engaging. How long have you been working on this body of work?

Many of the works displayed here have been created this past year. But this exhibit is, actually, a culmination of my artworks of the last few years.

Can you tell us something about your process, your particular aesthetic? It is certainly distinct.

I have been collecting insulin bottles for the past 35 years. I began shortly after surviving a diabetic coma at age six. The bottle has since  become my iconic image and has clearly informed my aesthetic. I work with a range of media — photography, paint, hand-cut images and sculpture — that almost always feature the insulin bottle.

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You are clearly a man with a mission! 

Yes. I want to raise and spread awareness of diabetes, a devastating disease that impacts over 30 million Americans. Too many people do not understand the challenges that diabetics face daily — the physical and psychological damage the disease can cause. It can be a living nightmare.

And have you a message to diabetics, as well?

Yes! I want them to feel less lonely and alone in the daily battle they face. There are millions of us carrying on. We never — even for a moment — can stop thinking about our disease.

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Your wheatpastes featuring bottles of insulin have become part of our visual landscape here in NYC. What other cities have you hit?

Among the cities I’ve pasted up in are: LA, Miami, Chicago, Boston and St. Louis.

How have folks responded to your work — both on the streets and in gallery settings?

The response has been consistently positive. Many folks who have the disease have thanked me for spreading awareness of it.

Appleton-Insulin-to-Ashes-

Occasionally, I hear that we are close to a cure. 

I wish that were true.  I don’t expect a cure in my lifetime.  If there were one, there would be a global economic breakdown. A cure should have and could have happened by now.

What’s ahead for you?

I plan to take my message abroad this year. Among the cities I will visit are: Paris, Barcelona and London.

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That sounds wonderful and thank you for what you are doing!

Note: Although the exhibit remains open through Sunday, a closing reception takes place tonight, Thursday, from 5-9pm at 51 Orchard Street on Manhattan’s Lower East Side. There will be limited edition signed artist prints for sale.

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 Images

1. Skid RowMetallic paper, Museum glass, Archival elements

2. Out of the Mine, Mixed media: Paint, Paper, Acrylic

3. Empire State Building, Photograph on metallic paper, Museum glass, Archival elements

4. Insulin to Ashes, Metallic paper, Museum glass, Archival elements

5. Top of the WorldMixed media: Paint, Paper, Acrylic

Interview by Lois Stavsky; photos of artworks: 1, 2 & 5 Lois Stavsky; 3 & 4 Tara Murray

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stikman-maybe he always looks the same

Featured in Woodward Gallery’s current exhibit Potentia Triumalong with works by Thomas Buildmore and Terence Netter, are over two dozen variations of our beloved stikman.  Representing an extraordinary range of imaginative styles and genres fashioned from sundry materials — many recycled — the artworks remain on display through December 22.

 One of many on paper, Mixed media 

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Collage on paper series, with Terence Netter on left and Thomas Buildmore on right rear

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Small Concrete Painting, Mixed media

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Bird Garden Shelter, Mixed media

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Stiks, Stone, Metal, Mixed media

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A larger segment of the huge installation in the rear room

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Woodward Gallery is located at 133 Eldridge Street between Broome and Delancey Streets. Hours are Tuesday-Saturday: 11:00 am – 6:00 pm; Sunday: 12:00 pm – 5:00 pm and by appointment.

First image: Maybe He Always Looks the Same. but It’s Us that See Him Differently, Close-up, Mixed media

Photo credits: 1-6 Dani Reyes Mozeson; 7 John Woodward

Note: Check here for more of stikman now on view at Woodward Gallery — as captured by Kendall Whitehouse.

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Nemo

Back in September, a huge orange carrot surfaced on the streets of Williamsburg. We soon discovered it was the work of the Italian artist Nemo Tibi Amat, whose distinctly curious aesthetic was on view at Exit Room NYC at the time. Eager to find out more about it all, we posed some questions to her.

Why a carrot? What does the carrot represent?

Because it makes me smile, and it makes other people smile. I think of it as a kind of Carrot Therapy. Also, the carrot fits wonderfully into our urban architecture. It can be vertical or horizontal; it can be whole or chopped. There will always be a place for it.

When was your carrot first born?

Everything was born some years ago. At the beginning, I used to paint a fat radish instead of the letter O when I wrote my name. Then when I began doing rollers, I replaced the letters with the carrot.  Even a child who can’t read can recognize a carrot.

"Nimo Tibi Amat"

What about the carrot on a cross that I saw over at Exit Room? What does that represent?

It’s the sacrifice.  Anyone who aims to change the world by fighting against the system — with his or her own powers — is a Jesus on Earth. He wasn’t the only one crossed, as so many were, are and continue to be in many other ways. He’s just the most famous, because apparently his father was a god! The real crucified carrots that I use represent the inevitable decay of the body. After death, there is no resurrection.

And your burqa? It’s such an intriguing, powerful image. What does it represent?

Since I began painting — back in 1995 — I’ve had to deal with hiding and covering myself. I’m fascinated by the relationship between one’s interior self and the exterior world. And I love playing with the concept of protecting your body by hiding it. Covering your face can be a choice, but sometimes it is a necessity — a rule that others impose on you. Through my burqas, masks and balaclavas, I also tell stories that range from personal experiences I’ve had with real people to secret urban legends. If you scratch away the plasticine on my scratch card artworks, you can win my face.

Nemo-artwork

"Nemo Tibi Amat"

What about your characters? Can you tell us something about them?

The characters themselves tell me how to draw them. You would have to ask them.

What is like being a female in a male-dominated world?

I don’t think about it. If you know who you are and where you are, you can manage just about everything going on around you. Most of the time, I paint on my own, and most of my friends are guys. I think I’m lucky, as I feel free from those mental prisons that a lot of girls feel enclosed in.  I don’t, though, support the feminist way of thinking as it only increases the separation between us.

"Nemo Tibi Amat"

What is your impression of NYC?

Everything is really messed up, and I do love it.

Interview by Lois Stavsky with assistance by Daniela Croci aka Zoe;  Photos 1, 2, and 5 courtesy of the artist; 3 and 4 by Lois Stavsky

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"WK Interact"

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:

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"WK Interact"

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

"WK Interact"

And the book

"WK Interact book"

"WK Interact"

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

Photos by Dani Reyes Mozeson

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Jose-Parla

Continuing through Saturday at Chelsea’s Bryce Wolkowitz Gallery, José Parlá’s solo exhibition, “In Medias Res,” features a range of exquisitely richly-layered, abstract works focusing on the artist’s personal interactions with particular places. Here is a small sampling:

The Ghetto (on right) and San Lazaro y Genios

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Hot Gowanus

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Bowery and Houston

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The Bryce Wolkowitz Gallery is located at 505 West 24th Street in Chelsea. On its exterior you will find the following collab between José Parlá and JR captured last fall.

"Jose Parla and JR"

Photos by Dani Reyes Mozeson

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