Graffiti

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Launched and coordinated by the West Harlem Art Fund, Fusion NY presented a series of panels, tours, performances and pop-up exhibits earlier this week – Armory Week 2016 – in various venues throughout Harlem.  Of special interest to us graffiti and street art aficionados were the panel discussion,  Basquiat Still Fly @ 55, moderated by Jeffrey Deitch and the pop-up exhibit, Street Art Gone Fusion Crazy, curated by Lady K Fever and Savona Bailey. What follows are a few more images by artists — who also use the streets as their canvas — that we captured on our visit to Street Art Gone Fusion Crazy this past Wednesday.

Bind

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Brim, Tats Cru and Share 37

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BG 183

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Ree

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Curators Lady K Fever and Savona Bailey

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First image is close-up from huge piece by Lady K Fever

Photo credits: 1-5 Dani Reyes Mozeson; 6 Lois Stavsky

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available here for Android devices.

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Aired last year in Italy, Sky Art’s underground documentary hit Graffiti A New York brilliantly chronicles the history of graffiti in NYC focusing on several key figures in the scene. After viewing the documentary, we had the opportunity to pose some questions to its producer and director Francesco Mazza.

You grew up in Italy. What spurred your interest in NYC graffiti? And how were you first introduced to its culture?

In the early 90’s a number of original graffiti writers from the Bronx moved to Italy looking to recover — thanks to the good weather and the healthy food — from the “crazy 80’s” in New York. They, maybe, needed what we now think of as a “detox” after the tumult.  At the time, graffiti writing had already come to the European consciousness through the movie Style Wars and the book Subway Art, but because of the influence of these newly migrated Masters, Italy, unlike the rest of Europe, developed a graffiti style akin to that of New York City’s.  It was the kind of style created by Phase 2, who moved to Italy himself, back in the 70’s. The walls of my neighborhood, Milano Lambrate, in the early 90’s looked exactly like those in the Bronx during the 70’s and the 80’s.

To us kids playing soccer in the street, those wall paintings were a sort of a mystery, and kids love mysteries. So, out of curiosity, we started asking questions to the older guys, and we all got involved.   From that point on, graffiti became an essential part of our lives — in our neighborhoods and in our identities as individuals.

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What made you decide to produce a film on the topic? 

Having lived in New York for three years already, I was looking for a way to show the city to an Italian audience from a fresh and original perspective. I asked myself, “What do I know best?” The answer was clear: graffiti. I figured that behind the history of the graffiti movement, there was the history of the city itself. Really, graffiti writing could flourish only because of the terrible financial situation of New York during the 70’s. I always found it fascinating that all the crime and pain and blood of the 70’s spawned, at least, the most vibrant art movement the world has ever seen.

How long did the process take — from its conception to its completion?

The film itself took about a year to be made, but there are some elements of the history that I’d still like to add. I’m hoping for the opportunity to re-shoot some parts and add additional ones for a US release.  I’m searching for funding right now.  As great as it was to bring this to the Italian market, it has become clear to me that the documentary was the kind of record of a movement that deserves to be a part of the American canon, as well.  It’s about NYC. It documents the scene decade by decade. It’s really important to find a way to bring this history “home.”  Hopefully, I’ll find the financial backers; and due to the nature of the film, I’d love to partner with a museum, if possible.

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How did you decide which artists to include?

“Graffiti writer” is a label. When you look beyond the label, there is literally everything. Artists, addicts, entrepreneurs, fools, poets, murderers; you name it, I saw it. Right off the bat, you have to understand that you won’t be able to get close to everybody if you want to stay somewhat safe.  It’s also very hard to gauge the importance of the single artist. Is a graffiti artist important because he had or has a great style? Cool, but what if the said writer has done only a couple of hits and nobody in the community cared about him? And what if you focus on the quantity, but then the style of that writer — whose name was everywhere — literally sucked?

There was a balancing act.  I, of course, chose artists with historical importance, but I also reached out to the writers that I like and that inspired me when I was a kid. Fortunately, most of them were willing to help me with the project.  I also felt strongly about making sure women were represented in the film.  They were absolutely a part of the movement, but sometimes when history chronicles events, women don’t always get the due they deserve in the record.  It was important to me to not fall into that trap as a director.

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How did the artists respond to you?

Some of them were skeptical at the beginning, and they were absolutely right. When mainstream media talks about graffiti writing, they tend to create confusion. If we consider the art world, I think that after the 19th century, nobody considered an artist as someone who can only “make something look pretty.” Nobody thinks that Pollock, so to say, was an amazing artist because he could simply “make a canvas look pretty”; there was a complexity that was beyond — or sometimes even consciously lacking — beauty.  For some reason, all around the world, when media, or institutions, or public opinion deal with graffiti writers, they consider the graffiti writers’ work just on their ability to “decorate” a wall in a happy, colorful way. To me, and I think to all graffiti writers, there is, indeed, decoration. Maybe beautiful, wonderful decoration, but graffiti writing is also something else. Graffiti writing points right to the contradiction of contemporary society where we all matter. We all pay taxes and have the right to vote —  but, at the same time, to what degree do we really matter to the machine?  I think it’s a question everyone asks. As a result, millions of individuals decide to express their identity, their presence in the world by writing on a wall, consciously facing the consequences of their deeds.

When I walk in my Crown Heights neighborhood in Brooklyn and I see a portrait of a dragon on a shutter, I think, nice illustration, but nothing beyond that. When I see a rough tag on a wall, I don’t say, “Look at that! So pretty!” but I think about a guy or girl that, despite the risk of getting busted and sentenced to two years of prison, decided to face the challenge and put his freedom at jeopardy to have me see his name.  Now, what is more interesting, from a social/cultural point of view? The fellow who copies an illustration of a dragon and gets paid for that, or the one who takes the risk for free to screw up his life forever just to have one individual out of one hundred thousand reading his name?  I personally have no doubt about which is both more interesting and matters more.  So, the graffiti writers I contacted were really scared that I was another guy from the media industry with no grasp at all of the roots and the meaning of the movement. It took me a lot of time and efforts to gain their trust, but once they realized what I was talking about, they were really cooperative and with some of them I built great friendships.

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What were some of the challenges you faced in producing the film?

I served as writer, director, and executive producer. The network, Sky Art,  gave me a budget, and I was free to manage it however I liked.  But that was hard, because as a director, I always wanted more  — more days of shooting, more footage, more writers to interview — but as an executive, I had to put some limits. It was like being two different people at once.  Now that I can look back, I better understand the limitations I had and their effects on me. And an American alternative presentation — that wasn’t able to be made at the time —  is something important to pursue going forward, as much to “do right” by NYC.

Who was/is your target audience?

The original documentary targets an Italian audience who is fascinated with New York but doesn’t really have a knowledge of it, as well as everybody else who wants to know, once and for all, the real history of one of the most relevant artistic, cultural and, to a certain extent, political movements of the 20th century.  Now I need to broaden the reach beyond Italy.

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Will New Yorkers have the opportunity to view it?

Unfortunately, as of now, they don’t, and that’s a travesty.  That’s where my fight is now — finding a means to change that.  Everything about this movie is New York City.  The residents need this film.  It needs to be a contribution to their historical record.  Hopefully, I’ll find the funding for what is really a “preservation” project.  People aren’t around forever.  The interviews with important artists in Graffiti A New York, all in English, need to come “home.”

I certainly agree!  Graffiti A New York is not only a passionate homage to the roots of graffiti, but an essential visual and spoken record of a significant NYC era.  What’s ahead for you? Can we expect any more films on the topic of street art or graffiti?

Currently I’m working on a project for the Discovery Channel for which I hope to be able to announce details soon.  Later this year I’m doing a documentary on Stewart Brand and the Whole Earth Catalogue that I’m very excited about.  This fall I’ll be shooting a short project in New York again.  I’m also continuing to show Frankie: Italian Roulette, my short fictional film from last year, at festivals across the US.  Next up for Frankie is the Crossroads Festival in Jackson, MI on April 2. Even Frankie is about life in NYC and fighting to stay there, so — going forward —  it’s no surprise that I’ll, of course, continue to focus on the themes present in Graffiti A New York: art, actions of consequence, social responsibility of both the system and the individual, and, of course, the city of New York itself.  And, fingers crossed, we can make the US adaptation of Graffiti A New York.  That really must happen.

The questions for this interview were formulated by Lois Stavsky and Tara Murray after viewing the European market release Graffiti A New York.

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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This past Friday, we visited Fillin Global’s inaugural showing of curated art at Castle Fitzjohns on the Lower East Side. Featuring a diverse range of creative artworks by over two dozen artists in different media, the exhibit exudes a wonderfully expressive energy. Among the artists whose works we saw are many who also bring their talents to our city’s streets. While there, we had the opportunity we had the opportunity to speak to Thomas Feinstein — of Fillin Global — who curated the exhibit with co-curator Jackie Collins.

This exhibit is amazing! There are so many different styles and techniques represented here, and everything seems to work together. Just what is Fillin Global?

FILLIN is an artist agency, representing innovative artists from across the globe.

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How did you get such a varied, talented group of artists together in one setting? 

Many are friends. Some I’ve known from my childhood growing up in Long Island. Let’s just say I was a bad kid!

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How long did it take you to get this exhibit together?

I began working two months ago for a February 19 launch. But during the final week, I barely slept at all.

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 What were some of the challenges that came your way in getting this all together?

The biggest challenge was working with such a wide range of styles and media and making it all flow.

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How have folks responded to the exhibit?

They love it!

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 What’s ahead?

We are planning an event in a huge warehouse where artists will be able to paint directly on the walls. It will take place this summer.

That sounds great! Good luck and congratulations on this inaugural show.

Note: Today, Sunday, Feb 28, is the final day to check out the Fillin Global’s inaugural exhibit. The gallery — located at 98 Orchard Street — will remain open until 10pm.

Images:

1. Giz & Ghost, Untitled

2. Such, The Big ‘H’

3. JA & Giz, Tabs of the Rising Sun

4. Marc Evan, Limitless Undying Love

5. Dain, I Wasted Time on You

6. Phetus, Untitled

Photo credits: 1, 3 & 6 Tara Murray; 2 & 5 Dani Reyes Mozeson and 4 Lois Stavsky

More artworks and info about them can be seen here.

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Continuing through March 8 at 212 Arts in the East Village is Graffiti Legends, an exuberant exhibit of artworks by legendary Bronx artists: Bio, BG 183, Ces, Crash, Nicer, Skeme and T-Kid.  What follows is a sampling:

Another by T-Kid

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Skeme

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 BioTats Cru, close-up

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Ces

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Crash

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And a range of tags  — many, also, legendary — that surfaced on canvas opening night

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Curated by 212 Arts director Marc Leader, Graffiti Legends remains on exhibit through next Tuesday at 240 East 4th Street.  Hours are:  Tuesday through Saturday 2:00 pm – 8:00 pm, and Sunday 2:00 pm – 7:00 pm.

Photo credits: 1 Tara Murray; 2 Houda Lazrak; 3 Lois Stavsky and 4-7 Dani Reyes Mozeson

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Bringing flair and flavor to the walls on and off Bogart Street in Bushwick this past Saturday were some first-rate graffiti artists. Here is a sampling:

Large fragment of 4Sakn’s completed wall

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Miami’s Eskae 545 at work

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Bishop203 aka Jat1

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Hoacs at work

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Trace at work

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Roachi

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Photo credits: 1-6 Tara Murray; 7 Dani Reyes Mozeson

Note:  Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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This is the tenth in a series of occasional posts featuring the art that has surfaced on NYC shutters:

Brazilian artist Izolag in the South Bronx

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BK Foxx on Manhattan’s Lower East Side

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Ezo in Bushwick, Brooklyn

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Wane in Long Island City

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Mr Prvrt and A Visual Bliss in Bushwick

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Photo credits: 1 & 3 Lois Stavsky; 2 Courtesy of Woodward Gallery4 & 5 Tara Murray

Note:  Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Still out there each day with camera in hand documenting what has surfaced overnight, photographer Allan Ludwig aka Elisha Cook, Jr recently shared with us some of his thoughts on the changes that he’s witnessed in his downtown Manhattan neighborhood and more:

You’ve lived here in Soho for decades.  At what point did the changes in your neighborhood become most apparent?

Around 2003, I noticed that the new stores in my neighborhood were — for the most part — only selling expensive items.  I no longer recognized my neighbors’ faces on the streets. Tourists and shoppers were everywhere. I knew then that I must turn my lens onto the graffiti and street art here before it all disappeared.

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And what are some of the changes that you have observed in the street art that surfaces here these days?

It has largely lost its edginess.  Much of the street art here has  gotten exceedingly commercial.  It’s often difficult to tell the difference between what is sanctioned and what is done without permission. Street art and ads have become increasingly interchangeable. And too many “street artists” these days seem to use public space primarily to promote their gallery shows.

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What do you suppose has caused these changes?

The monetization of it all.  And I feel that the street art festivals have not only legitimized an underground movement, but have created an elite — not all that different from the mainstream art world.

 We’ve noticed that you tend to focus your camera on illegal works, particularly tags and bombs. Why is that?

Because they are real and raw. I love their poetic spontaneity. I can feel the artist’s pure passion and love for it.

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Not everyone would agree with you! Any thoughts about Mayor de Blasio’s proposed efforts to keep the city graffiti-free?

I don’t see any point to it. It’s a misdirected use of funds. The money should be used, instead, to help the homeless.

We noticed that you were daily documenting the impromptu David Bowie memorial in front of his home. Did you know Bowie personally?

I live just down the block from him, so I’d see him from time to time around the neighborhood. But, no, I didn’t know him personally. I would simply nod in acknowledgement and respect when I saw him. I sensed that he was my kind of person. But I did not want to invade his privacy.

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And what about the memorial? What spurred you to photograph it daily and in such detail?

I loved it! I loved that it was spontaneous and inclusive. There was no hidden agenda!

Interview conducted by Lois Stavsky with Tara Murray

All photos by Allan Ludwig aka Elisha Cook, Jr, except for the first one — featuring Allan alongside Buff Monster — which was photographed by Julie Dermansky; photo 3 features Dylan Egon; photo 4 features Dee Dee  and photo 5, Dasic Fernandez

Note: Hailed in a range of media from the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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the-newstand-installation-MoMA-NYC

The Newsstand, the underground zine and visual art space that ran inside the Lorimer L/G subway station from 2013 to 2014, has been recreated for MoMA‘s exhibit, Ocean of Images: New Photography 2015,  And it is certain to delight not only fans of photography and zines, but graffiti and street art aficionados, as well! Here are a few images we captured on our visit:

Back in the day

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With fire extinguisher in hand

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Along the tracks

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The Domino Sugar Factory and more

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Lele Saveri‘s photos of commuters, tags on bills and more

the-newsstand-bills-photos and more

 Close-up

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Produced in collaboration with Alldayeveryday, the installation remains on view through March 20th. Lele Saveri and other artists from The Newsstand and 8-Ball communities will present two free zine workshops for NYC high school students next month. You can check out the details here.

Photo credits: 1 Lois Stavsky; 2 – 7 Dani Reyes Mozeson

Note: Our highly acclaimed Street Art NYC App is now available for Android devices here.

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This is the tenth in an occasional series of posts featuring the range of faces have surfaced in NYC public spaces:

Chilean artist Otto Schade with JMZ Walls in Bushwick, Brooklyn

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Luis Rosenfeld in Bushwick, Brooklyn

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Brown Boyz — Don Rimx, Ricardo Cabret, LNY, Alex Seel and Mata Ruda — in Bushwick, Brooklyn

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Dasic with the Bushwick Collective on Manhattan’s Lower East Side

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Sonni in Bushwick, Brooklyn

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Mast and Logik with the Welling Court Mural Project in Astoria, Queens

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Beau Stanton with the L.I.S.A Project on Manhattan’s Lower East Side

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Chris Soria, lead artist, with DonChristian Jones and Groundswell youth in Brownsville, Brooklyn — since 2013

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Note: Our highly acclaimed Street Art NYC App is now available for Android devices here.

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Photo credits: 1, 2 & 6 Lois Stavsky; 3 – 5 Dani Reyes Mozeson; 7 & 8 Tara Murray

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On Urban Art Legends by KET

February 15, 2016

The following post is by Houda Lazrak, a contributor to StreetArtNYC and recent graduate of NYU’s Masters Program in Museum Studies

Urban Art Legends, by the renowned graffiti writer, photographer, curator and author Alan Ket aka KET, presents 39 engaging profiles of key urban artists, along with photos of their significant works.

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After a concise and informative introduction, in which he terms urban art as “this other art world,” KET introduces his readers to such pioneering and influential artists as ATOME, Futura, JON ONE, Lady Pink, Mode 2, Os Gemeos and Saber. Included in the artist profiles are: essential career highlights, defining artistic features, style evolutions, crew associations and specific creative projects, along with the artists’ engagement with the fine art world.

We learn, for example, that in addition to painting train graffiti, DAZE exhibited alongside Basquiat and Haring at NYC’s Mudd Club, lectured at universities and designed a train station — with Lee and Crash — in Germany.  Iconic musicians such as Madonna and Eric Clapton have purchased his canvases and numerous museums in the U.S., Germany and the Netherlands have added his paintings to their collections.

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Crash, KET notes, pioneered the graffiti movement’s relationship with the gallery world with the exhibit, Graffiti Art Success for America, that he curated at Fashion Moda in 1980. He has since exhibited in museums throughout the world and partnered with a range of companies on varied projects. And he is now, once again, active on the streets.

KET also selects some 20 artists — including Sane Smith, Risk and JON ONE — to whom he awards  “legendary status.”  We discover, for example, that Sane Smith was sued for three million dollars for painting a work visible for miles on NYC’s Brooklyn Bridge. Risk attains “legendary status” for being the first Los Angeles writer to paint a NYC subway train when he visited in 1978. And KET confers legendary status on Paris-based Harlem native JON ONE for receiving France’s premier award, the Legion of Honor, for his contributions to art and culture in France.

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KET also seamlessly links the two worlds of street art and graffiti by telling the stories of individuals — such as Ben Eine and Os Gemeos – who have dual identities as both graffiti writers and street artists.

Urban Art Legends beautifully captures the diversity of artistic practices found in our cities — from subway trains to galleries and back onto the streets. KET’s enthusiasm and passion for urban art pervade these pages as he writes that “justice cannot be done to all those incredible talented individuals who have informed and advocated” the urban art movement.

Urban Art Legends certainly comes close, as it offers readers a solid grasp of over three dozen of those individuals who have significantly impacted the urban art scene.

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Published in the UK by LOM ART, Urban Art Legends is now available online and in most NYC bookstores.

All images courtesy LOM ART:

1. Book cover, designed by Jamie Keenan; Nick Walker, 2015, Photography by Paul Green

2. CRASH, panel piece on subway train, Bronx, New York, USA, 1980. Photography by Phade

3. JONONE, Le Départ, spray paint and acrylic on canvas, 600 x 300 c.m., 1994, Speerstra Collection

4. ATOME, Sydney, Australia, 2014. Photography by artist

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