Exhibits

Currently on view at Martos Gallery in Manhattan’s Chinatown is Surface to Air, an exhibition featuring more than 30 works in diverse media on varied surfaces by the legendary Keith Haring. Spanning 1980 to 1989, several of these artworks have never  been shown publicly before. The untitled image pictured above was fashioned by the artist in 1984 with Sumi ink on paper: Additional images from Surface to Air — captured on our recent visit to Martos Gallery — follow:

Painted leather jacket

“Untitled,” 1983, Brush in orange-red and black ink on firm wove paper

“Untitled,” 1985, Steel and enamel

“Untitled,” 1982, Vinyl ink on vinyl sheet

“Untitled,” 1981, Marker on plastic

In collaboration with Eric Orr, “Untitled Subway Drawing,” 1980’s Chalk on paper — fezturing Orr’s iconic Rappin’ Max Robot

“Andy Mouse,” 1985, Acrylic on canvas

Located at 41 Elizabeth Street in Manhattan’s Chinatown, Martos Gallery is open Tuesday – Saturday, 10am – 6pm

Photo credits: Lois Stavsky

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The legendary artist Chris “DAZE” Ellis is currently at work on newly commissioned artworks at 550 Madison Avenue on the corner of 55th Street. The following interview with him was conducted by Street Art NYC contributor Ana Candelaria.

How did this wonderful opportunity come your way? And why this location?

This project came about through my ongoing relationship with the Museum of the City of New York. I was informed that there might be an opportunity to activate this huge space in Midtown Manhattan. And so, I didn’t choose the location; the location chose me.

What was your vision for this project? And how did it evolve?

We began with an offsite meeting, where we saw firsthand what the space would look like. We tossed
around ideas, and I thought that whatever composition I come up with should be bright
and colorful — not dark and somber. It should, somehow, really lighten up the space. I started
thinking about color first and then composition.

Then I started thinking about this building which is really iconic. The chief architect is Philip Johnson, and I thought,”Okay, my work is very New York-based. I work in New York everyday, and I draw inspiration from my daily commute.”

I wanted to come up with something that is easily recognizable as very New York, but — at the same time — something related to the natural world, as the site’s atrium is so beautiful.

Were there any particular challenges that you faced in seeing your vision through?

Not really. Once I came up with an idea for this particular space, there weren’t any challenges.

Your artwork at this site is still in progress. How has the response been so far?

The response so far has been 100 percent positive. And, most importantly, we’ve gotten great respect
from people who are just walking by in the street. Those people come from all walks of life. There are lots of tourists in this area, as well as people who pass by on their way to work. This area has a great mix of people.

Interview conducted by Ana Candelaria

Photo credits: 1 Brad Farwell, 2-4 Ana Candelaria

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Currently on view at Kreate Hub is an exuberant exhibition featuring a diverse range of distinctly stylish work by the hugely talented Puerto Rico-born, Bronx-based artist Sen2 Figueroa. With its swooping visual rhythms, striking lines and infectious energy, Sen2’s ever-evolving aesthetic seduces the viewer’s eyes — as it blurs the boundaries between, graffiti, pop art and fine art.

The image featured above was fashioned with mixed media on canvas. Several more images on view in “El Bronx” follow:

From the “X-ray Series,” Mixed media on canvas

From the “Mecanico Series,” Mixed media on canvas

From the “Mecanico Series,” Mixed media on canvas

“Fragile,” Mixed media on canvas

From the “Graffiti Pop Art Series,” mixed media on wood panel

From the “X-ray Series,” Mixed Media on canvas

Located at 15 Canal Place in the Mott Haven neighborhood of the South Bronx, Kreate Hub is open by appointment, Monday – Friday: 8:30 AM – 4:30 PM. Phone: 718.500.4151. “El Bronx,” Sen2 Figueroa‘s first solo exhibition in the Bronx, remains on view through April 12.

Photos: Tara Murray

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I first noticed Carmen Paulino‘s tantalizing talents several years ago when I came upon her distinct yarn-bombing street art in my Upper West Side neighborhood and in East Harlem. I was mesmerized! Carmen is now sharing her scintillating skills, soulful spirit and boundless passion with visitors to Art on the Ave’s Creative Space at 812 Lexington Avenue on Manhattan’s Upper East Side. On my recent visit, I had the opportunity to pose a few questions to her at her solo exhibition “Stitch Theory.”

This is so wonderful! How did it happen? What a perfect space for a solo exhibition!

I’d worked with Barbara Anderson, the cofounder of Art on the Ave, back in 2020. Art on the Ave transforms vacant storefronts into galleries, providing us local artists with the opportunity to exhibit and share our artwork, while actively engaging with the community at large. And in the early days of the Covid pandemic, Barbara invited me to participate in a project launched by Art on the Ave in Washington Heights. We continued to stay in contact, and in early November, she invited me share my crocheted artworks at this Lexington Avenue space.

How did you decide what to exhibit?

At the time I was invited, my mind was focused on our natural environment, and I wanted to raise awareness of environmental issues — such as the increase in flooding — that have impacted places dear to me. And so I decided to feature my piece “Let’s Save the Planet,” that had been exhibited at a fiber festival in Brooklyn back in 2019. I also drew on current events — such as the infamous Art Basel banana — and a range of themes that are particularly relevant to me and my community. And, of course, I want to get the message out that “Anything Is Possible,” and that just about anyone — of any age — can learn how to crochet and love doing it.

What has the experience of exhibiting in this space been like for you?

It is a dream come true! It’s mind-blowing and humbling. And it brings me one step closer to my goal of blurring the line between yarn bombing and fine art. I participated last year in the Metropolitan Museum’s MetFest, but that was only for one day. It would be wonderful to see my yarn-bombing, along with the fiber art of other yarn bombers, exhibited inside the museum.

Are there any moments in this particular setting that have stood out to you? 

I’ve loved it all. I love interacting with all the folks who pass through. But I especially love when children visit. Earlier this week, a local preschool class of three and four-year olds came by. What a joy watching them interact with my yarn art! They were particularly delighted by my pink cake and thrilled that they were allowed to touch it.

What’s ahead?

As of now, I have several murals coming up, a window I will be decorating, another gallery exhibit I will be hosting and a fashion show I will be working on.

That sounds great! How can folks see this exhibition before it closes on Tuesday?

I will be here at 812 Lexington Avenue — between 62nd-63rd Streets all day tomorrow, Sunday, and Monday from 9 a.m. until 5 p.m.

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

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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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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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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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Currently on view at Woodward Gallery on Manhattan’s Lower East Side is “The Eyes Have It,” a delightful exhibition showcasing several contemporary artists’ interpretations of eyes, as distinct elements of larger images. Among these artists are many well-known to us street art and graffiti aficionados. The untitled image above was fashioned with enamel on canvas in 2019 by the legendary Bronx-based artist John Matos aka Crash. Several more diverse renderings of eyes follow:

Brooklyn-based Moody Mutz, “Berries and Grapes,” 2015, Acrylic on canvas

Hudson Valley-based Cosbe, “My Madonna Dot Com,” 2020, Mixed media on canvas

Lower East Side-based Chico, “Gene Simmons, Kiss Eyes,” ca. 2012, spray paint on plywood

Philly-based stikman, “133 Eldridge Street stikman,” 2010, Painted wooden cutout adhered to wooden board

The late, legendary Canadian artist Richard Hambleton, “Shadow Head Portrait,” 1997, Acrylic on paperboard and found frame

Daytime view

Nighttime view

This exhibition continues at Woodward Gallery, located at 132A Eldridge Street on Manhattan’s Lower East Side, through July. You can view the works in the gallery’s street-level windows 24/7 or by appointment by contacting Art@WoodwardGallery.net.

Photo credits: 1-5 and 8 courtesy Woodward Gallery, 6 & 7 Lois Stavsky

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On Thursday May 15, Woodward Gallery held an elegant reception at the Down Town Association, 60 Pine Street, for 12 in 24. Presenting an intriguing array of artworks by 12 artists — all working in distinct styles — 12 in 24  continues through July, 2024.

The image shown above features Cosby, along with his first-born son, standing in front of his 2022 work Soft Spot. Fashioned with acrylic and mixed media on acrylic panel, it is representative of Cosbe’s raw, instinctive, signature aesthetic.

In addition to Cosbe— who is well-known to many of us street art aficionados — several other artists who have made their way onto public space are celebrated in this exhibition. What follows is a sampling:

The wonderfully talented BK Foxx, “Featherweight,” 2016, Freehand spray acrylic on linen

The late, legendary Richard Hambleton, “Sunset in Studio Valley,” 1985, Acrylic on canvas

NYC-based painter and muralist Jose Aurelio Baez, “Winter Bouquet,” 2023, Acrylic and wallpaper on canvas

The wonderfully versatile Moody, “From the Ground Up,” 2021, Enamel and high gloss acrylic on wood

Wide view of the elegant gallery space 

And the delightful “12 in 24” opening night

You can visit the exhibition through July by appointment (Art@WoodwardGallery.net) or view it on online at Artsy here.

Photo credits:

1-4 Lois Stavsky; 5-7 Courtesy Woodward Gallery 

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The following post is by guest contributor Kristy Calabro 

On May 15, I attended the opening reception for the wonderfully inventine NICK WALKER | A PORTRAIT OF A VANDAL. Continuing through the summer at 685 Third Avenue, the exhibition features a delightful series of works on canvas and on paper — largely referencing Nick Walker‘s iconic vandal.

Faceless, concealed subjects, all enveloped in an air of mystery, abound. Among these are tantalizing variations of  the bowler-hatted “Vandal” — reputedly his alter-ego.

A particular highlight of the exhibition is Nick Walker‘s beloved “Vandal Child,” sporting a ski mask and clutching a spray can in each hand, inspired by a photo of the artist’s daughter.

A pioneering stencil artist, Nick Walker has been enriching urban landscapes from London to New York City, from Honk Kong to Paris and beyond for decades. Produced by DK Johnston with support from BGO, NICK WALKER | A PORTRAIT OF A VANDAL presents a rare opportunity to view the legendary artist’s remarkable talents in another setting.

Post and photos submitted by street art enthusiast, arts writer and photographer Kristy Calabro and edited by Lois Stavsky

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