Exhibits

Up on the Roof of the 407 Bushwick with Fumero, Nicole Salgar and Chuck Berrett, Raquel Echanique, Gumshoe, Whisbe, Cruz, CAM, John Paul O’Grodnick, Elle & more

April 30, 2014

The rooftop of the 407 Bushwick, located at 407 Johnson Avenue, elevates the wonder and energy of street art. I recently had the chance to visit it and speak to its curator, Fumero.

You’ve transformed this rooftop into a vibrant canvas drenched with dazzling colors in an array of styles. How did this come about?

A friend of mine, dj and producer Onda Skillet, lives at the 407 Bushwick. He was looking to bring some color to the rooftop that was covered mostly with old throw-ups. And I saw this as a great opportunity to bring the energy of the streets up to the roof.

You invited such a wonderfully diverse group of artists to paint here. Can you tell us something about how that came about?

In curating this rooftop, I chose artists whom I’ve met — and often worked with — throughout the years in different settings. I asked them to bring their distinct iconography with them. Some had never painted on walls before.

You are consistently active on the streets. What is the appeal of the roof to you? I remember catching glimpses of your pieces up here from street level and feeling frustrated that I couldn’t see more of them!

That’s part of the appeal. It incites interest. The roof is kind of a secret society. We are free to invite whom we want and no haters are allowed!

Where would you rather paint – on the streets or on a rooftop?

I like them both. They are different experiences. When I paint on the streets, I can engage people. But the roof has a distinct energy that I love.

Your recent event Art in the Air, Music Underground, hosted by Aphotic, featured music, as well as art. Can you tell us something about that? How integral is music to what you are doing at the 407 Bushwick?

Its role is essential. The audio creations, performed by Onda Skillet with his Aerotropic label, were the perfect complement to the art. Opening rooftops to music and art is the next big thing! What’s happening here is a landmark. It is the future.

What about the location of the 407 Bushwick? Any thoughts about that?

The location couldn’t be more perfect. Bushwick is what the Lower East Side was 30 years ago. It’s the hub of cutting-edge art and music. The 407 Bushwick is the new CBGB.

What’s ahead?

More great energy, art and music! The second Art in the Air, Music Underground will take place this summer. The artists are already lined up, and we are now seeking sponsorship.

It all sounds wonderful! What a great outdoor gallery NYC is!

Photos: 1. Fumero; 2. Nicole Salgar & Chuck Berrett with Raquel Echanique on right; 3. Gumshoe and Whisbe; 4. Cruz; 5. CAM and segment of Cruz; 6. John Paul O’Grodnick; 7. Elle, and 8. Fumero

Interview with Fumero and photos by Lois Stavsky; also featured on the roof of the 407 Bushwick are new works by Joseph Meloy, AOM, NS/CB, The Cupcake Guy, Rafal Pisarczyk and Robyn Henderson.

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Swoon: Submerged Motherlands at Brooklyn Museum’s Cantor Gallery

April 26, 2014

The following guest post is by Rachel Fawn Alban, a NYC-based photographer, arts educator and regular contributor to untapped cities.

Swoon‘s highly anticipated installation is now on exhibit at the Brooklyn Museum, and it is a masterpiece.

Featuring a 60-foot tree with a trunk made from material colored with instant coffee, paint and fabric dye, Submerged Motherlands is at once beautiful and provocative.

At the tree’s base, a constructed environment has been assembled from sculpted boats and raft — and a gazebo with wasp nest and honeycomb detailing. Delicate paper cutouts, along with Swoon’s signature prints and drawings, are interspersed throughout the installation.

The prints include a few familiar characters from the artist’s lexicon, as well as some new ones. Among the most striking images are those which enhance the theme of motherlands: Swoon’s friend and her new baby and portraits of her mother’s life cycle.

All of these elements create an immersive, engaging and beautiful environment. And in a short video on view in the gallery space, Swoon describes the many processes involved in the creation of this epic work, including dying the tree fabric, transporting the boats and painting the rotunda walls using a fire extinguisher. Reflecting both societal and environmental issues, the remarkable Submerged Motherlands continues through August 24.

Upcoming events include tomorrow’s Members Family Day with Swoon and June 12th’s celebration with Swoon and her collaborators of the work on view through film, music and performance.

Photos by Rachel Fawn Alban

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The Big Egg Hunt Finale at Rockefeller Center through Friday with Vexta, Enx, Dain, Seen, Indie 184, Retna, Pure Evil, ASVP & more

April 22, 2014

The finale of the Fabergé Big Egg Hunt began this past weekend and continues through Friday. Among the 260 egg sculptures on view at 30 Rockefeller Plaza are quite a few by artists with roots in the streets. Here’s a small sampling:

Enx

Friday marks the final day of the auction with all proceeds going to Studio in a School and to Elephant Family.

Photos by Dani Reyes Mozeson

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“Push It” at Chelsea’s ArtNowNY through April 26 — with Swoon, Elle, Lady Pink, Lady Aiko, Alice Mizrachi, Vexta, Maya Hayuk and more

April 16, 2014

Currently on exhibit at Chelsea’s ArtNowNY is “Push It,” an exuberant show featuring works by over 20 female artists working in a remarkable range of expressive modes. Fresh new talents are showcased alongside legendary artists — many with roots in graffiti and street art. Here’s a sampling of works by six artists who consistently share their visions with us in public spaces:

Swoon

Vexta, close-up

Curated by Melissa McCaig-Welles, the exhibit continues through April 26 at ArtNowNY, 548 West 28th Street in Chelsea’s gallery district.

Images of artwork by Dani Reyes Mozeson, Lois Stavsky and City-as-School intern Dea Sumrall

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The Ñewmerican Dream: Yoav Litvin Talks to Ñewmerica

April 12, 2014

The following guest post is by Yoav Litvin, a writer, photographer and author of the recently released Outdoor Gallery – New York City book on contemporary NYC graffiti/street art.

Ñewmerica is a collective of artists, which includes LNY, Icy and Sot, Mata Ruda, NDA and Sonni. Each well-known to street art enthusiasts in New York City and worldwide, they joined forces in “The Birth of a Nation,” currently on display at Exit Room in Bushwick. After a fantastic opening chocked full of performances, raffles and other fun surprises, I returned to Exit Room to re-examine the art. The first piece one encounters is an installation piece constructed by the group — “La Inmortal Deli,” a bodega stocked with hand-embellished bottles and cigarette boxes. Outside the bodega are pieces by each of the artists in the main hall of Exit Room.

It is very refreshing, Ñewmerica, to see a group of talented artists — each in their own right — form a collective. What are you trying to achieve with Ñewmerica?

Ñewmerica is a friendship and a platform for independence. When artists start out, they are free to create a body of work as they see fit, but then as the gallery system takes over, the work gets dissected and profiled to fit curatorial restraints or group show themes that tell their own stories. This can take away from an artist’s ability to present and represent his or her work. Ñewmerica is a collective push to take that complete artistic expression back by making the work we want to see exactly the way we want to see it. Ñewmerica is freedom.

Is there a collective experience for foreign artists trying to make it in NYC? Can you tell us something about the name, Ñewmerica?

None of us are native to NYC – our shared playground. NYC is the perfect stage for anybody to talk about anything resembling national identity, immigrant identity, or issues of gentrification and generational perspectives. Our individual work speaks about these issues already, and it gets amplified when we work together. At the same time this is just our reality. Even if we don’t make identity an issue we see it coming up in every day life. Analyzing identity is a way of discussing the reality of New York.

What’s wrong with America and what are you trying to change?

We are not necessarily trying to change anything, but just better ourselves through collaboration, sharing, and friendship. That’s the only way we can create a better commons and consequently better communities, neighborhoods, cities and nations. Know thyself before you wreck thyself and thy town.

The bodega – why did you choose a bodega as the collaborative point for the collective, and not some other nexus? Why did you choose to make art on alcohol bottles and cigarettes boxes?

The bodega is a contested battleground. Much like the subway, it unifies a city because all social strata melt into it. Commerce and necessity make the bodega a contemporary secular place of worship where we all get our alcohol, coffee, cigarettes and purchase dreams on lottery tickets. It is this quintessential NYC icon — that has played an important role forming our culture — that is slowly getting lost. The bodega icon has been the focus of a lot of scrutiny, a specific example for this is the Street Market installation by Barry McGee, Todd James and Stephen Powers at Deitch Projects back in 2000 — something we all looked at and talked about at the beginning of this production and in a way are paraphrasing as part of this longer dialogue in time.

Is there significance to the name, “La Inmortal Deli?”

“La Inmortal Deli” is our nod to this history and our wish for this type of questioning to continue while simultaneously dealing with contemporary issues. Contrary to its name, “La Inmortal Deli” has an expiration date; it has been foreclosed and will soon be replaced by a Bank of America. So where will our culture go? What will replace the bodega in this new city we are building? What can we do about it?

Please tell us some of Ñewmerica‘s plans for the future.

Ñewmerica has lots of fun and secret events planned for the future months – check back with us to find out @nwmrca and on our Facebook page.

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“The Ñewmerican Dream is our biggest success to date,” commented Exit Room founder Dariel MTZ and co-founder Daniela Croci aka Zoe. “This group of artists represents the perfect balance between a grittier street art style and fine art, highlighting diversity in style, ethnic influences and a critical, yet progressive, new vision for American society.”

“The Birth of a Nation” continues through April 19 at 270 Meserole Street. Gallery hours are Wednesday – Sunday: 5 – 8pm

All photos by Yoav Litvin; photos 1-4. Bodega installation; 5. NDA and Icy & Sot; 6. Mata Ruda and Icy & Sot; 7. Ñewmerica — all members, and 8. LNY and Sonni

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W H I T E W A S H: A Requiem to 5Pointz at the Jeffrey Leder Gallery with Meres, Cortes, Zimad, See TF, Shiro and more through June 8

April 10, 2014

On November 19, 2013, 5 Pointz, the world’s aerosol art Mecca, was whitewashed overnight. Its heartless destruction profoundly saddened not only the artists who called it home and those who traveled there from across the globe, but all of us who loved the creativity and camaraderie that 5Pointz represented. Currently on exhibit at the Jeffrey Leder Gallery, just a short walk from the site of the “art murder,” is W H I T E W A S H. Curated by Marie Cecile-Flageul, it features the works of nine aerosol artists and two photographers. Here’s a small sampling of what is on exhibit:

Another by Meres One

Christian Cortes

Zimad

See TF, close-up

Shiro

Also on exhibit in W H I T E W A S H are works by Auks, Hans Von Rittern, Jerms, Just One, Orestes Gonzalez, Poem and Topaz. The exhibition continues through June 8 at the Jeffrey Leder Gallery. Located at 2137 45th Road in Long Island City, the gallery is open Friday – Sunday 12-6pm and by appointment, 917 767 1734.

Photos of artworks by Lois Stavsky and City-as-School intern, Dea Sumrall

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Jef Campion aka Army of One at Castle Fitzjohns Gallery

April 8, 2014

Most of us street art aficionados identify Jef Campion aka Army of One with his appropriation of Diane Arbus’s compelling image, “Child with Toy Hand Grenade in Central Park.” But currently on exhibit at Castle Fitzjohns Gallery at 98 Orchard Street is a series of works never viewed before — from poetry to sculptures fashioned on salvaged wood — that provide a poignantly intimate look into the talents and torments of this distinctly complex and sensitive artist.

We visited the gallery the day after the exhibit opened and had the opportunity to speak to its owner, Vincent Harrison.

Where and when did you first meet Jef?

I discovered Jef at Art Basel in Miami in 2012. He was standing in front of his van, covered with red paint from a project he’d been working on.

What was your first impression of him?

He was a very intense guy, but also one of the nicest you’d ever meet. I was impressed by his sincerity and passion — in addition to his artistic and technical skills. He had a strong sense of justice that he carried throughout his work both as an artist and as a firefighter. In fact, he never intended to exhibit his work in galleries or make money from his art. Whatever money he made he donated to causes and charities such as the Ronald McDonald House. He just wanted to make a difference.

Why do you suppose Jef took his art to the streets?

Jef studied at CalTech and SVA and was making fine art long before he hit the streets. But after 9/11, he became intent on reaching as many people as possible. And the streets were the perfect vehicle for him to do this.

Have you any thoughts on Jef’s appropriation of Diane Arbus’s iconic Grenade Boy?

He always felt a strong connection to Diane Arbus, someone who also led a tragic life. Her iconic image was the ideal way for Jef to highlight the plight of children affected by war and the loss of innocence within American society.

There seems to be so much pain and angst in Jef’s work.

He had his demons. He struggled with issues related to his childhood, his relationships with women and his abuse of drugs and alcohol. Though spiritual, he rejected organized religion and the Catholicism that was imposed on him as a child. He felt that religion had been used to promote prejudice. But the biggest battle he faced was with PTSD (Post Traumatic Stress Disorder). He was a first responder following the 9/11 attack and stayed at Ground Zero for 40 consecutive days. He was left struggling with traumatic, painful memories.

Can you tell us something about this particular exhibit?

We wanted to commemorate Jef Campion’s life as an artist and individual who gave so much back to his community. Brooke Lynn McGowan, who was in touch with Jef’s former girlfriend, curated it. None of the work on exhibit is for sale, but some museums have expressed interest in the work.

How did the opening go?

It was a wonderful tribute to Jef. His close friends, along with street artists, firemen, members of the police department and representatives of charities, attended and shared their memories. He will be missed.

The exhibit continues through Thursday at 98 Orchard Street on Manhattan’s Lower East Side.

Interview with Vincent Harrison by Emily Thaler; photos of Jef’s work by Dani Reyes Mozeson, Lois Stavsky and Dea Sumrall

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Pawel Althamer’s “Neighbors” Transforms New Museum’s Fourth Floor Gallery into Dynamic Collaborative Canvas and more

April 5, 2014

The vision of Polish artist Pawel Althamer, the huge white space of the New Museum’s Fourth Floor gallery has become a vibrant collaborative canvas featuring a dynamic range of creative expression. Visitors of all ages are welcome to participate and are provided with paint and drawing materials. Here are a few images captured last week:

City-as-School’s Dea Sumrall joins the fun

And then captures some close-ups

Featured on the second and third floors of the New Museum are several of Althamer’s haunting sculptures and videos – many produced in cooperation with community groups that he has worked with over the past two decades.

From the Venetians, an installation of life-size figures

Self-portrait as the Billy Goat

Self-Portrait in a Suitcase

Another self-portrait, this one in collaboration with Paulina Antoniewicz and Jacek Taszakowski, as he looks out of the window on an imaginary childhood scene

If you bring a new or gently men’s used coat to be donated to the nearby Bowery Mission, admission is free! But do hurry – as the exhibit ends April 13.

Photo credits: 1. Rachel Alban; 2-3. Daniel Reyes Mozeson; 4-5. Dea Sumrall; 6-7. Dani Reyes Mozeson; 8. Lois Stavsky; 9-10. Dani Reyes Mozeson

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Small World Street Art Continues through 4.6 on Manhattan’s Lower East Side with: Joe Iurato, Elbow-Toe, Cake, Hellbent, Jaye Moon & more

April 3, 2014

Intrigued by the small artworks that surface unexpectedly thoughout New York City, Amy Young has curated a delightful exhibit featuring small works by over a dozen artists. Here’s a sampling:

Another cut-out by Joe Iurato

Elbow-Toe, close-up

Cake

Hellbent

Jaye Moon

Other featured artists include: Jilly Ballistic, C215, Clown Soldier, Enzo and Nio, Gilf!, Jay Shells, Shin Shin and Wing. A closing party will take place tomorrow, April 4, from 5-9pm. The works will remain on exhibit through Sunday at R. Jampol Projects, 191 Henry Street between Clinton and Jefferson on the Lower East Side.

Photos: 1. courtesy of the gallery; 2. 3. & 5. Sara Mozeson; 4 & 6, City-as-School intern Dea Sumrall

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DAIN on His Women, Beauty and His New Exhibit Opening Tomorrow, Thursday, April 3, at Dumbo’s Folioleaf

April 2, 2014

Whether seen on gritty city streets or in formal gallery settings, DAIN’s masterfully conceived artworks always intrigue. And those in his upcoming exhibit at Dumbo’s Folioleaf are among his most dazzling to date. While previewing a few of his new collaged portraits at the Folioleaf gallery space at 111 Front Street, we had the chance to ask him a few questions:

What is it about these particular women’s faces that you find so alluring?

I’m drawn to their eyes. The way they stare at us. And like the women in the old Hollywood movies that I love, these women are naturally beautiful.

We are wondering why so many of these women’s faces are attached to men’s bodies. What is the significance of this? Is there a message here?

There is beauty beyond the physical. Everything doesn’t have to hang out. Women need to leave something to the imagination.

This is quite an impressive body of work. Your distinct aesthetic continues to evolve. Have you any thoughts on this?

I hope it’s getting better. I actually think this is my best work so far. I’m just starting to scratch the surface.

How long did it take you to prepare for this exhibit?

I began working on it in my head many months ago. The final pieces came together in the last few weeks.

Are you satisfied with the results?

So far, yes! If I am not satisfied with a piece, you will not see it in this show.

The public opening of DAIN’s new work will take place tomorrow, Thursday, April 3, 6-9pm, at Folioleaf, 111 Front Street, #226, in Dumbo. The exhibit continues through Saturday, May 17.

Questions for DAIN by City-as-School intern Anna Louka; photos of DAIN’s works by Lois Stavsky and City-as-School intern Dea Sumrall.

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