Exhibits

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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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.

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This past Thursday, the wonderfully welcoming and elegant Blue Gallery NYC hosted Wall 2 Wall. Curated by the designer John Herbert Wright, it features an eclectic range of work by six artists, four of whom maintain a huge presence in public space.

Pictured above in front of two of his canvases is Meres One of 5Pointz fame — whose principal work space these days is his studio. Several more images of artworks on exhibit by artists who are also active on the streets follow:

Also by Meres One

Queens-based See TF in front of his photorealistic portraits on jacket

NJ-based Albertus Joseph alongside his expertly-rendered skull

Veteran graffiti writer Mike 171 standing alongside work by Question Marks– also tagged by SJK 171 and the legendary Taki 183 — with a copy of the seminal Wall Writers in his hand

Question Marks and Dirt Cobain

Located on the first floor of the Blue Building, 222 E. 46th Street, Wall 2 Wall can be viewed today through Wednesday, 1-5pm and at its Closing Reception, Dec. 21. 6-10pm.

Photo credits: 1 & 2 Rachel Alban, 3-6 Lois Stavsky

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Laura “Lulu” Reich and Koz, founder of SilverTuna Studios, have once again launched a dazzlingly diverse exhibition featuring works by a range of wonderfully gifted graffiti and urban artists. The splendid painting featured above, Subway China, was fashioned with oil-based enamel on canvas by the Australian artist Damien Mitchell. A small selection of images featured in Stay Up on view through November 12 at City Point BKLYN — follow:

NYC-based, Puerto Rico-born artist Epic Uno, “Midnight Blue,” Acrylic and woodcut on panel

Brooklyn-based Colombian artist Praxis, “Make Your Dreams Reality,” Stencils and spraypaint on canvas

The amazingly prolific Staten Island-based artist Chris RWK, “Trusting,” Mixed media on canvas

Dublin born and based artist Solus, “Full,” Spraypaint on canvas

Queens-born and based artist Belowkey, “Interiors Grape Ape,” Acrylic on canvas

The ever-versatile Bronx-based artist Zimad, “Teabag,” Mixed media on canvas

The internationally renowned Bronx-born artist Cope2, “33rd Street Station-6 Line,” Mixed media on subway sign

City Point BKLYN, easily accessible by public transportation, is located at 445 Albee Square West in Downtown Brooklyn. The gallery, located on the first floor, is open Thursday through Sunday 1-7pm and Monday through Wednesday by appointment. You can contact Lulu to make an appointment at lulu@collectwithlulu.com.

Photos: Lois Stavsky

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Currently on view at Brooklyn Art Haus, a new home for innovative arts in Williamsburg, Brooklyn, is “ON THE EDGE,” a group exhibition featuring a delightfully diverse selection of urban art, graffiti, photography and fine art in a range of media by both emerging and established artists.

On a recent visit to the wonderfully welcoming space, I had the opportunity to pose a few questions to its curators, Koz, founder of SilverTuna Studios, and Laura “Lulu” Reich.

This is your third exhibit here at Brooklyn Art Haus. In what ways does it differ from your previous ones held at this space?

There’s a bit of more emphasis on photography, as we are highlighting works by the amazing urban photographer Victor Thomas, known on Instagram as Vic Invades. We are also thrilled to be presenting for the first time four artworks by the legendary Shepard Fairey.

Yes, I love these Obey screen prints, and I love the way he takes a political stance on the critical issues of our time. How did you connect to Shepard Fairey?

I (Koz) was filming Shepard Fairey while he was at work on his Bad Brains mural for the LISA Project. I developed — at the time — a close relationship with his assistant, Rob Zagula aka Eastweed. And then we all met up at midnight and were out on the streets until dawn!

You, two, obviously have a great working relationship. How did you meet? And how do you manage to work so well together?

We are both friends with Easy, and he introduced us to each other. We are both passionate about what we do, and we complement each other in terms of our personal and professional skills. We also tend to share the same friends, who are largely artists and collectors.

In addition to sharing the artworks on exhibit with collectors and the general public, do the two of you have any other mission?

Yes, we want very much to educate those who view the works about the artists behind them. That is why we have included biographical information, alongside each artist’s work.

What’s ahead?

We are planning ahead for a mural festival to take place in Chicago next June. We are currently in the process of curating an exhibition of new work by Al Diaz scheduled to open next month at Brooklyn Made in Industry City. We are also looking forward to exhibiting artworks at the Tribeca Synagogue and again at City Point BKLYN. And Koz will be releasing a film featuring Cape Cod-based pro-skateboarder and artist Zered Bassett — introduced by skater and artist Eli Reed.

You are certainly productive! Good luck with it all! How can folks see your current exhibit here at Brooklyn Art Haus?

The exhibition can be viewed daily from 10am – 10pm through Sunday, September 3rd.  Private viewings are by appointment via lulu@collectwithlulu.com. Brooklyn Art Haus is located at 24-1 Marcy Avenue in Williamsburg, Brooklyn

Images featured in this post:

1 .Shepard Fairey, “Putin’s Ashes (Pussy Riot),” 2023, Screen print on thick cream speckletone paper, 24″ x 18″

2. Cope2, “Cotton Candy Star, ” Mixed media on canvas, 16″ x 20″

3 Tkid, “Do Not Cross,” Mixed media on subway sign, 18″ x 16″

4. Jessica Kaplan, “Roar,” Mixed media & collage on canvas, 12″ x 12″

5. Chris RWK, “TIL The End.” Mixed media on canvas, 36″ x 24″

6 SNAPKRACKER x RAMBO RAME, “Hip Hop Legends,” Paint marker and aerosol on street sign, 29″ x 29″

7. Curators: Koz and Lulu, — with Koz sporting a Chris RWK hat and SNAPKRACKER sweatshirt

Note: Also on view are tantalizing works by Eastweed, FLASH, Eric Orr and Vic Invades

Interview conducted and edited by Lois Stavsky; Photo credits:  1, 6 & 7 courtesy of the curators;  2-5, Lois Stavsky

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