Built from 1904–1906 by the New York Central Railroad to provide electricity for its tracks heading north from Grand Central, the Glenwood Power Plant was sold in 1936 to Con Edison. Since its 1963 closure, it has evolved into a wonderland of gritty graffiti, ephemeral artworks and more. Last week, we had the opportunity to speak to the wonderfully talented painter Valeri Larko who has been recreating segments of this distinctive urban treasure — nicknamed “The Gates of Hell” — on canvas and metal with oil paint.

This place is phenomenal. When did you first begin painting here? And how often are you here?

I started painting here in September 2023. I’m here as often as six or seven days a week for about eight hours a day. It’s been a blast! So many interesting, creative people pass through. Since I started coming here, I’ve met filmmakers, video producers, photographers and all sorts of urban explorers drawn to its remarkable cathedral-like architectural presence.

How did you discover it?

An urban explorer, Brandon Parsons, whom I’d first met on Instagram, introduced me to this plant.  When he visited NYC from his Ohio hometown, he suggested that we check out the Glenwood Power Plant. And he showed me the portal to enter.

We became instant fans after viewing Bronx Focus: Paintings by Valeri Larko at the Bronx Museum of the Arts back in 2016. We love how you immortalize our favorite medium of visual expression. What drew you to graffiti?

The urban landscape — particularly abandoned spaces — has always fascinated me. When I was living in New Jersey, I began exploring industrial plants and found myself especially drawn to big sculptural tanks and bridges. But when I moved to New Rochelle, I started driving into the Bronx. My earliest discovery in that borough was of an abandoned gas station filled with graffiti. I’d always been interested in urban signage, and I loved the colors and playfulness of the graffiti that I discovered. It was great fun!

Can you tell us something about your process?

Generally during the winter months, I drive around exploring different neighborhoods. When I discover some site that interests me, I return when the weather is warmer. I then do a quick color story, and I think about the composition and the canvas-size that will work for it. I order stretchers and bars, and after I stretch my canvas and return with my color story, I begin to paint. I always paint on site.

How long does it generally take you to complete a painting?

Anywhere from several weeks to several months — depending on its size.

Can you tell us something about your personal mission?

I am always striving to be a better painter as I document the ephemeral. My mission is to capture pieces of history before they are gone.

What’s ahead?

I don’t think about “what’s ahead” while I’m working on a project. But once I’m close to completion, I begin thinking of the ideal venue to exhibit it. I’d love to exhibit these works in a museum.

That would be great! And how ideal it would be to see these paintings in the almost adjacent Hudson River Museum!

Images:

1. “Glenwood Power Plant, Turbine Room I,” Oil on Linen, 20″ x 16″ 2023

2. Valeri Larko on site

3. “Glenwood Power Plant, Turbine Room III,” Oil on Linen, 20″ x 16″ 2023

4. “Glenwood Power Plant, Rotary Building,” Oil on Linen, 20″ x 16″ 2024

5. “Glenwood Power Plant, Gates of Hell,” Oil on Linen, 20″ x 16″ 2024

Interview by Tara Murray and Lois Stavsky

Photo Credits: 1 & 3 Edward Fausty, courtesy of  Valeri Larko; 2 Sara C. Mozeson 4 & 5 Tara Murray 

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STUDENTEACHER, the most recent exhibition curated by Chip Love and Seb Gorey and presented by Nemo’s Beer Shop in Forest Hills, Queens is a stylish and striking celebration of the lifelong, constantly evolving relationships that transpire between students and teachers. The delightfully playful image featured above was fashioned with ink on paper by the prolific Queens-based artist Belowkey. Several more images of artworks that will remain on view through STUDENTEACHER‘s closing party at the end of this month follow:

Queens-born multidisciplinary artist Cern, “Cernimals #2,” 2024, Acrylic on canvas

MAYHEM crew menber Kemos, “Untitled,” 2023, Spray paint and marker

The legendary TDS member Part One, “Mean Green,” 2024, Acrylic and paint marker

Queens-based veteran graffiti writer Mike 79, “79/131,” 2024, Marker tags on spray painted canvas

Graffiti writer and painter Python, “P Is for Pupil,” 2024, Designer markers, watercolor, ink and brush on canvas

New Jersey-based Hest aka Halfguy 2024,”Untitled,” Mixed media on wood panel

Located at 110-64 Queens Blvd in Forest Hills, Nemo’s Beer Shop is open Tuesday through Friday, 2PM – 11PM, Saturday, 2PM – 12AM and Sunday, 12PM – 6PM.

Photos of artworks: Tara Murray and Lois Stavsky

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This past May, a wonderfully diverse group of artists brought their skills to South Street Seaport, marking the third year that the You Are Not Alone community-based art project curated a huge 160 ft long wall in honor of Mental Health Awareness Month. These murals’ message of hope is particularly timely this month, September — National Suicide Prevention Month. Featured above is the work of the Washington Heights-based graphic designer and illustrator Yuma York. Several more images from this year’s You Are Not Alone Murals Project 2024 at the Seaport follow:

Detroit-based designer and hand lettering artist Lauren Hom

Local street artist and animator Sara Lynne Leo

 NYC-based multi-disciplinary artist, designer and typographer Juan Carlos Pagan

Sydney, Australia-born, NYC-based multidisciplinary artist Vexta

New Jersey-based hand-lettering artist and muralist Olga Muzician 

 Brooklyn-based muralist, teaching artist and illustrator Peach Tao

British multi-disciplinary artist David Puck

Launched in 2019,You Are Not Alone Murals was founded by multimedia artist and art director Annica Lydenberg aka Dirty Bandits and Samantha Schutz, mental health advocate and the author of the highly acclaimed memoir I Don’t Want to Be Crazy.

And do remember, “You are not alone!” If you or someone you care about is in need of support or information, help is available from the National Alliance on Mental Illness. The NAMI HelpLine can be reached Monday through Friday, 10 a.m.–8 p.m., ET. 1-800-950-NAMI (6264).

Note: Find out here about You Are Not Alone Murals’ first annual t-shirt collaboration and fundraiser!

Photos of artworks, Lois Stavsky

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On the occasion of Boone Avenue Walls‘ tenth anniversary, dozens of artists brought their remarkable skills and styles to the Bronx neighborhoods of West Farms and Hunts Point. This is Part II of our two-part series documenting this year’s extraordinary Boone Avenue Walls Annual Festival, founded and curated by veteran Bronx writer WEN COD. The image featured above was painted by Brooklyn writer Minus One. Several more images — all captured by street art/graffiti aficionada Kristy Calabro — follow:

Bronx-based artist and educator Lola Lovenotes

OTM Graff Crew member Image

The legendary Bronx-based artist John Matos aka Crash.

West Coast-based artist and curator Espy

Bronx-born writer and textile artist MRS

Florida-based muralist and writer Ric One

Brooklyn-based stylemaster Roachi

Photos: Kristy Calabro

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On the occasion of Boone Avenue Walls‘ tenth anniversary, dozens of local, national, and international artists brought their remarkable skills and diverse styles to the Bronx neighborhoods of West Farms and Hunts Point. The image featured above was painted by the legendary Bronx-born graffiti pioneer Chris “Daze” Ellis. Several more images of the completed murals — all captured by street art/graffiti aficionada Kristy Calabro — follow in this first of a two-part series documenting this year’s extraordinary Boone Avenue Walls,

Bronx-bred artist El Souls 

Canada-born, Bronx-based artist, curator and arts educator Lady K Fever

London-based veteran writer Corze

The inventive 3Modes aka Professor M

Queens native graffiti writer and fashion designer Claw Money

Queens-born and based artist Belowkey,

The remarkable, ever-expanding Boone Avenue Walls was founded and is curated by the veteran Bronx writer WEN COD.

Photos: Kristy Calabro

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On Thursday, August 22nd, First Street Green Art Park once again hosted a Landmark Festival event under the curatorial direction of the indefatigable Kath Storch. Murals by established artists who had painted on huge canvases earlier in the month were once again displayed, while artists painted alongside them. The vibrant mural featured above was crafted by the wildly talented Lower East Side-based artist Doves. What follows are several more images captured during the event by photographer Ana Candelaria.

French artist Jaek El Diablo at work

Jaek El Diablo, Mural on canvas

Veteran graffiti pioneer and designer Stash with Shiro‘s characters to the right and left

Queens legends Jerms and Topaz paint the renowned rapper/producer Large Professor 

NYC-based, Japanese hip-hop culture enthusiast and artist Shiro

Bronx-born and bred Andre Trenier 

Photos: Ana Candelaria

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Dozens of first-rate writers and muralists from NYC and beyond brought their tantalizing talents to East Harlem’s 44th annual Graffiti Hall of Fame this past weekend. Walls and cubes fashioned in a wide range of styles graced the now-lengendary schoolyard on 106th Street and Park Avenue. The dynamic production pictured above was painted by graff masters Delta, Syerok, Taste One, Blaze and Part One,   Several more images of artworks captured this past Sunday afternoon follow:

Graffiti veteran Skeme also known as 3 Yard King

BedStuy Walls co-founder and curator Miki Mu 

The wonderfully talented NJ-based Will Power does the late Nic 707

NYC-based, Japan-born hip-hop culture enthusiast and artist Shiro

East Harlem-based, Sweden-born graffiti writer and graphic designer Scratch

Harlem-based Brazilian American multidisciplinary artist Phes at work

The masterly Queens-based artist Chris Cortes

The prolific Bronx-born graffiti writer Cope 2 in collaboration with French artist Jaek El Diablo

Note: Keep posted to the Street Art NYC Instagram and Threads for more images of artworks that surfaced in this year’s Graffiti Hall of Fame.

Photo credits: 1-6 & 9, Sara C Mozeson; 7 & 8, Ana Candelaria

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Marked by a distinctly endearing visual language, LeCrue Eyebrows‘ artworks exude both soulfulness and strength. His solo exhibition “Thoughts Moving Forward” — continuing through August 25th at Van Der Plas Gallery — showcases a wide array of his works, each with its own narrative. Featured above is She Nodded In Affirmation — fashioned this year with acrylic on canvas. Several more images — all captured by photographer and Street Art NYC contributor Ana Candelaria — follow:

With Seeds, 2024, Acrylic on canvas

The House We Make, 2024, Acrylic on canvas

It’s in the Tea, 2024, Acrylic on canvas

All That You Rule (R) and Day by Day (L), 2024, Acrylic on canvas

Wide view of select gallery space

Located at 156 Orchard Street on Manhattan’s Lower East Side, Van Der Plas Gallery is open Mon-Sun: 11am-6pm.

Photos: Ana Candelaria

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On the final weekend of June, the now-legendary Welling Court Mural Project launched its 14th Annual Street Art Festival in Astoria, Queens under the curatorial direction of Alison C. Wallis. Photographer Ana Candelaria was there to capture the action and share it with us. Featured above is the famed graffiti pioneer and graphic designer Stash at work on a wall painted collaboratively as a tribute to the late innovative graffiti writer Col Wallnuts. Several more images — all courtesy of Ana Candelaria — follow:

The prolific veteran writer Wane at work

Graffiti artist and designer Epic Uno at work 

Bronx-based painter and art educator Depoh at work

Brooklyn-based artist and BEDSTUY WALLS founder & co-curator Miki Mu at work with mural by East Harlem-based Scratch to her left

Artist and educator Katie Reidy at work celebrating the “rise of the woman”

The hugely inventive Sweden-based artist Delicious Brains bringing his talents to NYC

More walls will be beautifying Welling Court and its nearby blocks in early fall. Sign up here to stay informed regarding upcoming events and volunteer opportunities.

Photos by Ana Candelaria

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Continuing through February 23, 2025 at the Saar Historical Museum in Saarbrücken, Germany, is “ILLEGAL. Street Art Graffiti 1960 – 1995,”  the first museum exhibition anywhere to focus solely on illegal graffiti.  I recently had the opportunity to pose a few questions to its curator, Dr. Ulrich Blanché, a Heidelberg University art historian who specializes in global graffiti and street art.

When did you first become interested in illegal markings? And what ignited your interest at the time?

Growing up in a house in the middle of nowhere in Bavaria with no neighbors within a kilometer, I was an easy victim for anything urban – ruin porn, street art, graffiti. While studying in Australia, my friend Shanu told me about stencils and Banksy. I was hooked.

What are some of the principal factors that motivated you to curate this exhibit?

My spirit of contradiction. Many street art and graffiti surveys act as if illegal art on the street is something that comes exclusively from NYC and Paris. As if the rest of the world was a blank canvas before we were enlightened/colonized by US street art and style writing graffiti. Unfortunately, many US/UK researchers/curators seem to read only English sources. And it seemed appealing to me to counter the old accusation that illegal street art and graffiti cannot be shown in a museum. Hence: an exhibition with only illegal works. I did not show the usual thing – new, legal works that barely survive on the old illegal street credibility of their creators.

Can you tell us something about the process of curating it? What were some of your main challenges? 

People seem to love “originals,” — whatever that is actually. One challenge was that there were often hardly any preserved illegally created originals, or you would have to spend a fortune to transport them. Another main challenge was that I was on my own in the curation process and in approaching artists/collectors. I missed student assistants I had worked with before.

How did you decide which artworks/artists to feature in the exhibition?

I tried to identify the earliest ones and the game changers. If the show would travel, I would include some more, for instance Flint Gennari (NYC), Valie Export (Vienna), SZ group (Moscow) and Tsang Tsou-Choi (Hong Kong). I tried to rewrite street art history in some cases – Brazilian stencil graffiti artist Alex Vallauri was earlier and had more impact worldwide in the early 1980’s than Blek le Rat. Art punk stencils by Crass influenced Banksy and Robert del Naja before they had even heard about Blek. There was a worldwide illegal street sticker campaign before OBEY, done by Cavellini from the 1970s onwards, etc. Among my other discoveries were 10 unknown SAMO© graffiti from 1979 in NYC and the first guy from Germany interested in Keith Haring. So new things about old hats and newly found old things that challenge street art or graffiti history —  at least in details. Graffiti is not just style writing from NYC; we also show L.A. Cholo graffiti, Philly graffiti or Pichação from Brazil – not all are common in overview shows. I tried to show large works so they can appeal in a physical way, and I tried to show developments on walls, not just work in mint condition, photographed the second the artist drops the can.

What is the central focus of the exhibition?

The concept is “hits and rarities.” To give an overview from the 50’s until the 90’s. I tried to identify the earliest examples, the ones who had a huge impact and some who should have had more impact. We start with Guy Debord, Ted Joans and of course Brassaï and end with Banksy’s first documented work on the street. We’re putting a spotlight on the Paris-Cologne-Zurich triangle because a lot was happening there and because the museum is in the middle of these cities, and another spotlight on the connections between street art, graffiti and music.

What would you like your viewers to walk away with?

I’d like the viewers to walk away with the thought that street art and graffiti did not start with Banksy. And that street art and graffiti stem not only from protest art or gang graffiti; it is far more complex. An audience interested in contemporary art would be amazed how many familiar names worked illegally, too: Christo/Jeanne Claude, Walter Dahn, George Condo, Valie Export, Daniel Buren, etc. Conceptual art, performance art, pop art, Fluxus, Mail Art are deeply interconnected with what we call street art today. And that early street art graffiti was more female than you’d expect.

How has the response been to the exhibit to date?

We were on German national TV and radio with the exhibition, as well as on several local and regional media. The response was very positive. Saarbrücken, however, is not Hamburg or Berlin. I think the bilingual catalog and the 3D scan of the show will reach quite a few people internationally, as well. For myself, it is great when people like Daim, Chaz Bojorguez and John Fekner say it is a great show!

Images:

1. Bando and Doc in Paris, 1984; photo, Claude Abron

2. CanTwo in Wiesbaden, 1988; photo, CanTwo

3. Alex Vallauri in Lower Manhattan, ca. 1982-1983; photo, Claudia Vallauri 

4. Vampirella in Amsterdan, 1985; photo, Vaselka M aka Vampirella

5. Book cover featuring Vampirella, photo, Vaselka M aka Vampirella

Interview with Dr. Ulrich Blanché by Lois Stavsky

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