urban art

While in San Jose for this year’s POW! WOW! festival, travel and street photographer Karin du Maire aka Street Art Nomad had the opportunity to explore the city’s intriguingly diverse street art. Featured above is the work of LA-based artist El Mac, Sophie Holding the World Together, commissioned in 2017 by San Jose Museum of Art in collaboration with The Propeller Group and Empire Seven Studios. Several more images follow:

 West Coast-based mixed-media artist  Andrew Schoultz, curated by Empire Seven Studios

Philadelphia-based Nosego, curated by Empire Seven Studios

Bay area- based Kristin Farr for POW! WOW! 2017

Bay area-based artists Lacey Bryant and Ben Henderson, segment of larger mural for POW! WOW! 2017

Sainer of Poland’s Etam Cru, curated by Empire Seven Studios

Native-American artist Jaque Fragua, curated by Empire Seven Studios

Oakland-based Jet Martinez & Amsterdam-based Adele Renault for POW! WOW! 2017

Photos by Karin du Maire aka Street Art Nomad

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Teeming with color and charm, the huge wall at City-As-School on Hudson Street between Clarkson and West Houston in the West Village has been the talk of the town. I had the opportunity to visit it while it was still in progress and speak to CAS educator Maria Krajewski, who’s been devotedly involved with this project since it first began.

When did this impressive project begin?

Magda Love actually started her mural in May, 2016. But due to permitting issues, the painting had to be stopped four days after it had begun. We were told that we needed formal approval not only from the Department of Education, but, also, from the Department of Environmental Protection.  About 25 people in the DOE and DEP had to approve the process. We had to work out insurance, liability, releases… That took about a year. We were so grateful to get the permit!

What is happening here is described as a project of the Mad Academy that you had co-founded. Just what is the Mad Academy?

It is a pre-professional training initiative that was developed as a collaboration among students, teachers and mentors. Its goal is to provide CAS students direct training in design, arts and music under the guidance of NYC’s top creative industry professionals.

I know that Magda Love has been involved with City-as-School now for several years. I remember the first mural that she had painted here. But how did you engage the Brazilian muralist Eduardo Kobra? His popular appeal is enormous!

Eduardo Kobra’s team actually approached us, as it was a great opportunity for him to paint on such a huge wall adjacent to a school building and to engage with students.

Working on a project this enormous must have posed many challenges. What were some of the main ones?

The enormous bureaucracy that confronted us in obtaining the necessary permissions to seeing it through was our greatest challenge. And funding, of course was another huge challenge. Once we got the permit, we didn’t have any money! When Lisi Gehrend joined the team to fundraise as part of her Master’s Degree in Art, Law and Business at Christie’s Education, the largest mural in NYC was finally underway

You’ve had quite a team. And how has the response been — from students and the community?

It’s been amazing. The community loves it, as do the students. They are, in fact, painting their own murals now on our building.

Congratulations! It is amazing! And it’s so wonderful how it all came together.

Images:

1 & 2 Magda Love

3 Al Diaz

4 Eduardo Kobra & team

5 City-As-School  students Charlie Federico & Kaira Wong

Photos by Lois Stavsky

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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Introducing the general public to an eclectic range of outstanding street artists from across the globe while boosting the development of the local street art scene, the third Russian biennale Artmossphere is now near completion. A particular highlight of this year’s Artmossphere was Shepard Fairey’s huge outdoor mural, Tunnel Vision, inspired by the bold aesthetics of Russian Constructivism. Several more images — representative of the wonderfully diverse artwork that made its way into Artmossphere 2018 — follow:

Shepard Fairey at work earlier on with a little help from his friends

Amsterdam-based Adele Renault at work on one of her signature birds with the legendary Martha Cooper capturing it all

Brooklyn-based assemblage artist Hyland Mather at work as he repurposes discarded materials into an intriguing installation

Swedish graphic designer Finsta’s completed installation

NYC’s masterful FAUST

Berlin’s 1Up Crew’s installation”Burner Phones”

Photo credits: Vasiliy Kudryavtsev

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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POW! WOW!, the international art movement that celebrates culture, music and art in cities throughout the globe, continues this week to enhance the city of San Jose. The image featured above was painted by Ivan Gonzalez. Several more works — many in progress and all captured by travel and street photographer Karin du Maire aka Street Art Nomad — follow:

Local artist Drew Flores at work — on ladder — with a little help from his friend

Dragon 76 and Woes — along with local students — posing in front of their mural

Iranian brothers, Icy and Sot at work on “Ladders to Nowhere,” a metaphor for the inhumane  US prison system, which makes it almost impossible for a released prisoner to move up in society

Korean artist Sixcoin at work on “Gulliver”

West Coast-based Apexer at work

Hawaii-based Kamehanaokalā aka Cory Taum at work

Photos by Karin du Maire aka Street Art Nomad

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Founded and directed by Jasper Wong, POW! WOW! is an international art movement that celebrates culture, music and art in cities throughout the globe, as it engages the broader community.

In 2017 — its inaugural festival in San Jose, California — it added 20 murals to the city’s landscape  It is back again this week with new public murals, musical gatherings, educational programming and a range of diverse activities. Featured above is a close-up of a huge mural in progress by the extraordinarily talented twin brothers How and Nosm. Several more images from earlier this week — all captured by travel and street photographer Karin du Maire aka Street Art Nomad — follow:

The entire How and Nosm wall in progress

West Coast-based Sean Boyles  and his wife, Roan Victor

Montreal-based French duo Scien and Klor of the 123Klan

Self-taught West Coast wire sculptor Spenser Little

Bay area artists Skinner and Jesse Hernandez

Local artist Shrine

Photos by Karin du Maire aka Street Art Nomad 

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If you haven’t yet had your portrait drawn with one line in under one minute by the wonderfully passionate, nomadic Brooklyn-based 0H10 M1ke, tomorrow is your chance. From 6 – 10pm, Mike promises to do that and lots more at 198 Allen Street. Last week, we met up and caught up a bit.

When we last spoke in 2014, you said that your goal was to create 100,000 one-line matchbox portraits? Mine was 11,206! How close are you to your goal?

My most recent was #13,021! I’ve done quite a few at 17 Frost, at 198 Allen, on the trains, on the streets — anywhere I can!

How do you approach folks? And how do they respond?

I simply say, “Give me a New York moment; I’ll draw your portrait in one line on a matchbox in one minute.” They generally respond with skepticism. But once they see the portrait I’ve created, they like it.

In addition to your ongoing matchbox project, what other projects have engaged you as of late?

I’ve been preparing for my upcoming solo show and performance If Basquiat and Keith Haring had a baby…reimagining the works of Basquiat and Haring in one-line drawings. I’ve, also, been working on creating sculptures inspired by Warhol; instead of using Brillo boxes, I use Nike boxes. And I’ve been staging wrestling as dance, which will be projected –along with large portraits — onto a huge screen outside 198 Allen.

What inspires you to keep creating?

I’m compulsive. I have to. And people, the street art community in particular, have been welcoming and supportive.

Are there any particular artists out there who continue to influenc your aesthetic?

Obviously Haring and Basquiat. But other main influences include UFO and Neckface.

Anything else new — in terms of your art-making?

I’ve been getting my original drawings into hand-made books. I recently constructed a 3o-pocket rotating magazine rack, and I’ve filled it with all hand-made original artbooks and magazines. I also create on a larger variety of surfaces.

What’s ahead?

Murals, prints and reproducibles.

Good luck with it all!

Note: You can keep up with 0H10 M1ke here — now that he’s posting on Instagram!

Interview conducted and edited by Lois Stavsky; all images courtesy of the artist

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The latest, soon-to-be-released edition of the street art coloring book series by Aimful Books, created by Diego Orlandini, features images of murals from the streets of Brooklyn, NYC’s Mecca of urban art.  Intent on contributing to educating children across the globe, Aimful Books matches every coloring book purchased with a free textbook to a school-age child. Its ultimate goal is to provide a million free textbooks to children by selling one million street art coloring books.

Deftly curated, The Brooklyn Coloring Book features the talents of over 40 artists who have shared their visions with us on the streets of Brooklyn. Among them are: Shiro, Chris RWK, Icy and Sot, Beau Stanton, Lady PinkAlice Mizrachi, Esteban del Valle and Denton Burrows.

And you can win a free copy of the $25.00 Brooklyn Coloring Book before it’s released to the public!

  • 76 premium pages
  • Perforated pages easy to detach to frame or gift your masterpieces
  • Spiral-bound for easy folding
  • 7.87 in x 7.87 in
  • Artworks of 48 world-class street artists
  • Full-color directory
  • Buy One Give One Initiative

For a chance to win a free copy, go to www.aimfulbooks.com/giveaway to participate in 10 seconds or less.

Images

  1. Shiro
  2. School children in Peru
  3. Chris RWK at work
  4. Shiro (L.) and Icy and Sot (R.)
  5. Coloring book cover

All images courtesy of the street art-loving, socially conscious Aimful Books

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A master of style and ingenuity, the wonderfully talented and resourceful Sade TCM has been making his mark in the writing culture and beyond for over three decades. Recently, we had the opportunity to visit and interview the Mount Vernon-based modern legend.

When did you first get up?

I was in 7th grade when I hit the doors of Clark Junior High School in the South Bronx. I was hanging out in school with Rush M.P.C. who was tagging at the time with fat black markers. He suggested I try it. I did!

What inspired you to keep at it?

Graffiti was all around me. On ceilings. In hallways. Daze and Crash were doing gates that I passed every day while walking around my neighborhood.

And what about trains? When did you first hit the trains?

I was in 10th grade. It was the winter of 1982.

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

There are many, but the one that stands out is the day I arrived. The previous evening, I was over at the Esplanade lay-up in the Bronx at the Morris Park/Esplanade stop. I had written SADEISM across three quarters of a  blue and silver car — a beige interior, cherry red outline, sky blue flame cloud with a regal blue outline and white highlights. The next day — as I was sitting on the Writers Bench at 149th Street and the Grand Concourse, along with Dez, G-man PGA, Sob and Cose — the train rolled by and and stopped directly in front of us. What a thrill that was! I knew then that I had arrived!

Did you generally hit the trains alone? 

I was often with my partner, Dune.

What was the riskiest thing you had done back in the day? And why were you willing to take those risks?

Running around in subways tunnels with live third rails and riding on tops of trains when they’re moving –- train surfing — were all risky. Why did I take those risks?  Youthful ignorance of consequences.

How did your family feel about what you were doing?

They mostly didn’t know about it. But my mother definitely didn’t like it. She thought it was stupid, and she warned me that if I got arrested, she wouldn’t be coming to pick me up.

Would you rather paint legally or illegally?

Back then, it was all illegal. But these days I’d rather paint legally. I like the leisure of legal.

You are a master of styles — over 1,000, in fact!. Is there anyone in particular with whom you’d like to paint with or battle?

Yes! I’d like to paint with Baby 168. And I’d like to battle Skeme, because he called me a toy!

How do you feel about the movement of street art and graffiti into galleries? Have you shown in galleries?

It’s a natural evolution. It legitimizes the value of the art. I’ve shown at Wall Works, at More Points and at the galleries of Westchester Community College and SUNY/Purchase University.

What is the main source of your income?

It has always been related to art. After I graduated from high school, I started my own business painting murals. But then after I was involved in a serious accident in 2000, I  switched to graphic design.

Have you a formal art education?

I earned an associates degree in visual arts from Westchester Community College and a BFA from SUNY/Purchase University. But when it came to graffiti, my primary educators were those writers I admired. I’d watch their work on lines as I was coming up.

Was your formal education worthwhile?

Carla Rae Johnson challenged me to use a pencil when I was a student at Westchester Community College. And at Purchase, I learned the most from my anthropology teacher regarding understanding cultures. A formal education did open my mind to broader possibilities.

Do you work with a sketch-in-hand? Or do you just let it flow?

95% of the time I work from a sketch.

Are you generally satisfied with your finished piece?

Am I satisfied with it? Yes! Am I happy with it? No!

What is your ideal work environment?

My living room and my courtyard, here in Mount Vernon.

What inspires you these days? I’m a visual junkie. Sometimes sculpture. It could be anything! I draw every single day, and I always attempt to do something I haven’t done before.

How has your art evolved through the years?

It’s evolved in both subject matter and technique. I now draw beyond graffiti letters, and draw with pencils, crayons, and charcoal brushes.

Who are some of your favorite artists?

Edgar Degas, I like the way he captured light…Roy Lichtenstein and Frank Frazetta. Among graffiti writers: Crash, Daze, Baby 168, Dondi, Tac, Spade, Dez, Part and Kel.

What are some of your other interests?

Writing and cooking. I used to be into motorcycle drag racing.

Have you any thoughts about the graffiti/street art divide?

I feel that the divide exists because of titles. Graffiti writers and street artists can inspire one another. An evolution took place. Many of the early street artists like Keith Haring, Hektad, A. Charles and Richard Hambleton bombed the streets in the spirit of graffiti. Problems arise when street artists scoff at graffiti. Graffiti has not yet gotten the legitimacy it deserves.

What about the role of social media in all of this? How do you feel about that?

It’s a double-edged sword. It’s great for gaining more documentation, knowledge  and exposure. But as the evolution of styles continues to grow at an alarming rate, the Internet has also ushered in an age of mediocrity.

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

A documentarian of the imagination, and the imagination is unlimited.

You recently curated an amazing event in the South Bronx celebrating the launch of the art collective, Ngozy. You were its principal founder.  What prompted you to launch it?

As an artist growing up in NYC, I know firsthand the struggles that artists face — particularly graffiti artists. Our culture is not given the value — nor the serious documentation — that it merits. We know that we have to start somewhere, and collectively we are stronger. Conversations with Ngozy partners John”Crash” Matos and Robert Kantor led to the birth of Ngozy

What is Ngozy‘s mission?

Among its many missions is to reach and educate the broad community about our culture.  We aim to facilitate the artists’ ability to sell and promote their art, as we make the art experience financially accessible to a wide public.

How can folks find out what artworks are available through Ngozy?

They can visit our site or download our free app for iOS or Android.

And what about artists? How can they become involved?

Anyone can register, set up an account, and submit work on the site or on the app. Blog posts and notices of events are also welcome!

I’ve recently registered, and it looks wonderful! I was delighted to discover the works of some of my favorite artists on the Ngozy site. What are some of the challenges you face in promoting the Ngozy collective?

The legitimacy of our art form remains a challenge. We need to shift the understanding of our culture on all levels. Getting exposure is essential, so that we can introduce Ngozy to new people. And we need sponsorship to accomplish our goals.

What’s ahead for Ngozy?

We are working on an all female live-painting event for October 27th, and we are currently seeking sponsorship. Among the many artists scheduled to participate are: Lady Pink, Shiro, Erotica and Steph Burr. Specific details and information will soon follow.

Note: Sade can be contacted at gfantauzzi22@gmail.com.

Interview conducted by Lois Stavsky with Tara Murray and edited by Lois Stavsky; all photos courtesy of Sade.

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A member of Avant, the first artist group in NYC to use the street as an exhibition space for works that were created in the studio on paper, Christopher Hart Chambers, along with David Fried, will be exhibiting a selection of his artworks for ten days beginning this Friday at 17 Frost Gallery

StreetArtNYC contributor Lenny Collado aka BK Lenny recently had the opportunity to interview the legendary artist.

When did you first start drawing?

From the moment I could hold a crayon in my hand. I was about one or two.

What are some of your earliest art memories?

I remember when I was in the 4th grade, we were asked to draw a figure of a tree. I drew the tree. We were told not to color it. I colored it anyway – only to be told that I’d ruined it. I could never follow assignments; I always did my own thing. I also have memories of copying from baseball cards, making pencil sketches of baseball players. I remember, too, going to a museum and seeing all these grey wooden boxes with soda cans and wrappers. I had a piece of garbage with me, and I threw it in. Suddenly, all the guards raced at me. I didn’t get it. I was 11 at the time.

What about cultural influences? Any particular ones?

Jimi Hendrix — his music and visual projections. I give him major props because Hendrix rode a wave, divorcing himself from being a creator. When he was on, he was not really there. When the magic happens, the ego isn’t really there. The art takes on a life of its own.

What did your family think about what you were doing? Were they supportive?

My mother used to ask me, “Have you considered having a career?” I‘d say, “I have a career!” She never understood, and she never hung any one of my pieces. She didn’t like my stuff. My father, however, had pieces hanging from the floor to the ceiling.

How important is the viewer’s response to your work?

I like people. But I don’t think their opinion would actively make me change a piece. While creating, I really don’t want to hear what others think. Afterwards, I’ll listen.

Are you generally satisfied with your art work?

I never ditch a piece; I put it aside and keep at it. When they’re good, it’s like, I didn’t do it. I’m a conduit. I’m like, “Wow, where did that come from?”

Have you a favorite medium?

Automotive paints.

How long do you generally spend on a piece?

Impossible to answer. Several years. I don’t think I’ve ever effectively finished something in less than thirty seconds. My posters take about four days and I do 20 at a time.

What percentage of your time is dedicated to your art?

All of it! Even if I’m watching TV or sipping iced tea, it’s all part of it.

Do you have a favorite place to work?

I’ve always liked my studio. I’ve always lived in my studio.

How has your art evolved throughout the years?

It was simplistic at first. I’ve gotten better. When graffiti first hit, I guess I was still holding back. But then I started to feel like a fool. So, I said, “Just go for what you want now. Just do it!” That was about ’77. And since, I’ve explored several different mediums.

You were one of the earliest folks to impact the street art scene. Can you tell us something about that?

We were all about going on a campaign and using the street as an alternative space. We were in revolt against the galleries and the commodification of art. That was Avant. There was a strategy to the whole thing. When the street kids were going to the galleries, we were bringing the studio to the street. We were like a rock band, hitting as many venues as we could. We used paste-ups and paint to put up art on the street. The late painter and poet Rene Ricard called us “the enemy,” because of what we represented. We were on a mission.

Who were Avant’s inspirations back them?

We were largely inspired by Al Diaz and Jean-Michel Basquiat. SAMO© was a phenomenon, as it captured people throughout the city.

What is your main source of income these days?

Selling art, selling stories, and writing about other artists.

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

He’s a priest or a cobbler with a compulsion, feathering the nest.

You’ve exhibited in dozens of venues from alternative sites to museums.

Yes! Among them were 51X Gallery, MoMA PS1, A.S.A.G.E. Gallery, Nassau County Museum of Art and Causey Contemporary. And my next exhibit opens this Friday, September 21 at 17 Frost Gallery, where I will be showing along with David Fried. in an exhibit presented by d.w. krsna.

Good luck! We are looking forward to that!

Interview by Lenny Collado; all photos, courtesy of the artist, selected by Tara Murray; and special thanks to 17 Frost Creative Director Javier Hernandez-Miyares

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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Gracing the 21-floor staircase of the new citizenM New York Bowery is MoSA (the Museum of Street Art), a rich range of images and words fashioned by 21 5 Pointz Creates artists under the curatorial direction of Marie Cecile Flageul. After visiting the soon-to-open hotel, I had the opportunity to speak to Marie who, along with 5 Pointz founder Meres One, has been directing the project since its inception:

This project is quite remarkable! Can you tell us a bit about its background? 

In Fall 2016, we held our first meeting with citizenM‘s chief marketing officer, Robin Chadha, a huge art lover who is intent on integrating art into his projects. He had been following the entire 5 Pointz story from Amsterdam, where he is based. He approached us because he was interested in bringing back a bit of 5 Pointz to NYC. The result is MoSA,

What about the staircase installation, A Vertical Love Letter to the Bowery? What is the concept behind it?

citizenM tries to understand and embrace the communities they move into. And this particular Lower Manhattan neighborhood has an incredibly rich history, which we attempted to capture with images of significant faces, places, moments and words.

How did you decide which artists to include?

Every artist included had contributed to 5 Pointz. Once I came up with the story line and quotations, it was easy for me to select artists. I had learned from Meres how to look at aerosol art and understand its visual voice.

What were some of the challenges that came your way in the course of managing and curating this project?

A major challenge was giving up control and trusting the artists once they understood the concept and direction of the project. There were also several logistic issues. There was no air conditioning early on, and the lack of elevators became a joke. But it all evolved into a kind of musical chaos, as all of the workers and staff here have been incredibly enthusiastic and supportive.

As it is nearing completion, what are your thoughts regarding the final outcome of this project?

I am humbled by the amount of love, hard work and dedication every artist has put into this project. Their attention to detail has inspired me. I am hopeful that thousands will see it — 5000 square feet that anyone can enjoy and a priceless gift to Downtown Manhattan.

How can folks who are not hotel guests gain access to the exhibit?

As early as October 1, anyone can come into the lobby — between 10am and 5pm — with ID and walk through the exhibition. I will be giving a personal tour to the first 500 folks who register. Groups of 10 or more people can email me at marie@5ptz.com 

Congratulations! And what a great way for visitors and students to learn about the history of this historic neighborhood! I look forward to revisiting it soon.

Note: All of the artists who participated in this project are identified here, and brief interviews with them with videography by Rae Maxwell, along with original soundtrack by Say Word Entertainment artists Rabbi Darkside and The Grand Affair, can be viewed here. In addition to A Vertical Love Letter to the Bowery, a court installation is underway by Rubin 415, Esteban del ValleDon Rimx, Lady Pink and Meres One. And gracing the plaza outside the hotel’s entrance is a captivating mural by Meres One, blurring the line between graffiti and fine art.

citizenM New York Bowery is located at 189 Bowery off Delancey Street.

Images:

1. Meres One

2. Marie and Meres on roof top of citizenM New York Bowery

3. Nicholai Khan

4. See TF

5. Zimad

6. Vince Ballentine

7. Kenji Takabayashi  aka Python

8. Elle

9. Noir

Interview conducted and edited by Lois Stavsky; photos by Lois Stavsky

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