Last weekend, the walls in Bushwick on Moore and White Streets became the canvas for Miami-based oo4’s East Coast tour. Here is a sampling of what was seen:
Miss Reds at work and more
First photo is of Abstrk and Miss Reds. All action photos by Tara Murray; all others by Dani Reyes Mozeson
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The following guest post is by Houda Lazrak, a graduate student in Museum Studies at New York University.
To the discontent of many, the corporate advertisements plaguing the urban landscape have become integral to our every-day visual vocabulary. As a response, street art is often offered as an alternative platform to reclaim public space from the impersonal iconography of corporate publicity. However, Philadelphia native Stephen Powers has employed that very language to empower his own personal vision.
A Love Letter to the City tells the tale of how artist Steve Powers’ witty lettering and profound insight turned advertising on its head. Authored by Powers himself, the book is a visually astonishing compilation of his large scale public art projects in cities across the globe, such as Philadelphia, New York City, Dublin, Sao Paulo and Johannesburg. With each chapter focusing on a metropolis, the book illustrates the artist’s engagement and collaboration with local communities and art organizations to “reflect their collective visions and dreams… to make art for the people.”
Powers’ outrageously honest introduction retraces his debut into the graffiti world under the moniker of ESPO in Philadelphia. In first-person narratives, he highlights his experiences and encounters that propelled him to the status of acclaimed public artist. Readers are treated to his eloquent personal recollections, as well as captivating photographs of his beautifully executed street art pieces.
Steve Powers’ employs signage style graphics to produce poignant conceptual pieces, ranging from single word slogans to multiple line phrases. The publication’s images bear witness to Powers’ ability to marvelously blend colors into the pre-existing urban hues. Prior to hand-painting site-specific murals, Powers deeply immersed himself in the spirit of each city. He embraced the values and needs of communities, deciphered central issues of local histories, and appreciated the soul of its neighborhoods.
In Coney Island, Powers worked with local citizens to revitalize an abandoned space into a sign shop/social club. The shop produced street signage for the inhabitants free of charge, which served to invigorate local businesses, as well as to enhance the community’s visual landscape. In another instance in Dublin, Powers altered his design plans when he saw a neighborhood recurrent tag: “Please call me, I am home, the door is open, ” followed by a phone number. Inspired by the message of love and loneliness, Powers then created a mural that spoke to similar concerns.
A Love Letter to the City provides invaluable insights into the creative mindset of a unique street artist. It sheds light on the back-stories of his sign pieces, from his improbable conversations with passersby to the formally held community meetings. Ultimately, the book illustrates how Powers and his team remarkably wove intricate typographic art into the fabric of multiple cities around the world.
All images courtesy of Princeton Architectural Press
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This is the 13th in an occasional series of posts featuring images of girls — and women — who grace our public spaces:
Swoon in Bushwick
Bàlu in Inwood
Jana and Js at the Bushwick Collective
Damien Mitchell at the Bushwick Collective
William Power and Joseph Meloy in the Bronx
Danielle Mastrion and Lexi Bella at Welling Court
Zeso in Garden City
Photos of Swoon, Jana & Js, Danielle Mastrion & Lexi Bella by Dani Reyes Mozeson; of Bàlu, Damien Mitchell, William Power & Joseph Meloy by Lois Stavsky; of Zeso courtesy of the artist
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Representing a range of artistic expressions from the comical to the spiritual, Exit Room’s current exhibit COROGRAFIA features works by members of Puerto Rico’s celebrated EL CORO graffiti crew. Here’s a sampling of what can be seen through today:
Located at 270 Meserole Street, right off the Montrose Ave. stop on the L train, the gallery space is open today, Sunday, from 5-8pm. Tentative plans for a closing party for August 2 are underway. Keep posted to Exit Room’s Facebook page for further details.
Photos of artwork by Lois Stavsky
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Earlier this year, over a dozen first-rate graffiti writers refashioned Long Island’s Oil City Skate Park. Under the curatorial direction of Zeso and his partner, Nino, the Oil City Skate Park Jam transformed the huge indoor venue into a graffiti wonderland. Here are a few more images that I captured while visiting last Sunday:
Just
Photos by Lois Stavsky
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The legendary Bronx-based graffiti artist John Matos aka Crash has been busy these days — with work on the streets, on exhibit and on Ferrari cars. Here’s a sampling:
At work on the Lower East Side last month for the Lisa Project
Recently-completed mural up in the Bronx for TAG Public Arts Project
At opening of Broken English at the Jonathan LeVine Gallery
With spray paint on canvas in Broken English at the Jonathan LeVine Gallery, Wrapped in My Own Existence
On exhibit in City as Canvas at the Museum of the City of New York, acrylic on canvas, 1986
For the Crash Ferrari Art Project, a collaborative venture with Joe “MAC” of Martino Auto Concepts and the Dorian Grey Gallery, on exhibit beginning today, July 24, through July 28 at Art Southampton
Photos: 1, 3 and 5 by Dani Reyes Mozeson; photo 2 by Lois Stavsky; photo 4 courtesy of the artist and photos 6-8, courtesy Bettina Cataldi
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On exhibit through this week at Gavin Brown’s Enterprise in the West Village is Born in the Bronx: A Visual Record of the Early Days of Hip-Hop. Among its many highlights are: memorabilia featuring personal narratives and archives of hip-hop pioneer Afrika Bambaataa; hip-hop party flyers and clothing designed by the late Buddy Esquire; original cells from the animated sequences of Charlie Ahearn’s film Wild Style and prints of Joe Conzo’s photographs of the early days of hip hop.
Here is a sampling of what greeted us when we visited this past Tuesday:
On the exterior of Gavin Brown’s Enterprise
U.K.- based Paul Insect‘s portrait of Afrika Bambaataa
And inside the gallery — noted DJ, producer and poet Rich Medina going though the bins of duplicates from Afrika Bambaataa‘s record collection
Close-up from installation of Buddy Esquire‘s clothing and flyer designs
Afrika Bambaataa fashioned from Bambaataa’s records by Paul Insect and Bäst
Selections from Joe Conzo’s’s seminal Born in the Bronx
The pioneering MC and hip-hop historian Grandmaster Caz
And legendary b-boy Crazy Legs
With Charlie Ahearn
Exhibited by Boo-Hooray and curated by Johan Kugelberg, Born in the Bronx is an extraordinary tribute to hip-hop’s early days and its everlasting influence. And if you can get over there tomorrow (Tuesday) afternoon — between 1-3pm — you will be treated to a Born In The Bronx Hot Platter Lunch DJ Session with DJ Jazzy Jay and DJ Rockin Rob. The gallery is located at 620 Greenwich Street at the corner of Leroy Street in the Village.
Photos 1-4, 7, 8 & 10 by Lois Stavsky; 5, 6 & 9 by Dani Reyes Mozeson; photo 1 features mural by Keo X-men
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Characterized by bold strokes and a vigorous flow, Tone MST‘s graffiti surfaces mostly in Brooklyn. Lenny Collado aka BK Lenny had the opportunity to interview him earlier this year:
When and where did you start getting up?
I was in the sixth grade back in 1992. I was making my own markers at the time and practicing on 200-page packs of paper that I used to rack from the corner store. I had to make my own markers because I was dead broke.
How did you make your markers?
I took men’s Brute deodorants, popped off the balls and emptied the containers. I then filled the containers with ink. I cut up my school’s black board erasers to serve as felt tips. It was markers until ’94. That’s when I started street and train bombing.
Did you have any preferred surfaces back then?
I liked the train ads in the subway stations, because I would write on them smoothly with my home-made markers.
Any major influence at the time?
My major influence at the time was Ski MST. He was rolling with writers and he got me acquainted. I was a loner for the most part. He got me to rack paint, and we would vibe off each other for style. We would rack cans on Steinway Street and go to the freight yards to empty out the cans.
Any particularly memorable events?
There was nine of us — Ski MST, Dope, Neke, Cloke, Vare, Pane and a couple of others. We all set out to do a lay-up in the tunnel between 36th street and Queens Plaza and video tape it. One of us hid the paint and a video camera in a sandbox where the tunnel workers kept their supplies. We scoped out the station for a while before setting out on the mission.
How did you guys get into the tunnel?
Some of us through the hatches on the streets above and some through the station. We started catching wreck on the two trains that had parked between the stations. As everybody’s painting them, Pane, Cloke and me went to the other car and started on some bubble letters. Just as we started, one of the train’s lights turned on and began to move into the station. I saw too that the police had made their way down towards us.
So what did you do?
We bounced. When I got out of that station, I must have run about a mile before my lungs gave in from the burn. It was a thrill like no other, and I enjoyed it. I loved bombin’!
Were you in any crews at the time?
I only push MST.
What was the attitude of your parents and your friends towards what you were doing?
My mother hated it, so I lied to her. I built a compartment in my closet to keep supplies. She would find my cans and throw them out. My friends would always point out how dirty I was.
Any thoughts on the graffiti/ street art divide?
It’s a thin line. Both project the same language and image, but they take different avenues. It’s like a GPS. All get to the same point, but through different avenues. The concept of graffiti needs to be explained to people who don’t understand it. Street art is a different entity. I like when the two are combined, like what Shepard Fairy and Cope do when they collaborate. I will say that street art is an extension of graffiti. It originated from graff.
How do you feel about the movement of graffiti and street art into galleries?
I think it’s dope! It’s progress — a positive thing. My gallery, though, is the streets. But if a gallery asks, “Hey, Tone, can you put a show together?” I’m flattered and take it as a step forward.
Do you prefer working alone or collaborating with others?
Both! When I started bombing early on, I would do so alone with my Walkman on. I would listen to WKCR with Bobbito Garcia and Stretch and Tag. At one point, I was a vandal. They called me a vandal. But I didn’t get up as much as I wanted to. I didn’t do it to get status. I didn’t go all city, but I love what I did. It was who I was.
Did you have a formal arts education?
I never pursued art school.
What is the source of your inspiration?
I’m inspired by Hip-Hop – rhyming and making beats.
Any particular artists who inspired you?
My influences are Hush, Gaze, Sub 5 and Emit of Sports Crew, MQ and Frantic and Free5. Giz from Queens also made impact on me. And there was Teck BS, Smith & Pink, Ve, Slash and Web13.
Do you work with a sketch in hand or do you do free hand?
It’s fifty, fifty. It depends on the situation.
What are your thoughts on the Internet in all of this?
The Internet is a tool, a means to communicate. Someone in Australia can get a look at what you’re doing here in NYC. But I think that graffiti has also been exploited because of it. It wasn’t meant for the masses, and the Internet made it accessible to everyone.
How has your work evolved throughout the years?
I’ve improved and honed my techniques. My pieces have gotten better.
Are you generally satisfied with your work?
I’ll say there’s always space for improvement.
Interview conducted by Lenny Collado and edited by Lois Stavsky. Photos 1 (collab w/KA), 3, and 4 (combo) courtesy of the artist; 2 (collab w/UR New York), 5 & 6 by Lois Stavsky; 7 (collab w/Shiro and Yes One) by Dani Reyes Mozeson
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With cameras in hand, Leanna Valente has spent the past 15 months photographing graffiti writers and street artists in progress. She now has over 400 photos signed by the artists. I recently had the opportunity to speak to Leanna about her brilliant Instant Art Exposure project and more:
Have you any early memories of graffiti or street art?
I remember first seeing graffiti as a young child. It was right down the block — under viaducts and bridges — from where I grew up in Buffalo. I loved it at first sight!
Have you, yourself, done any graffiti?
When I was about six, I attempted some bubble letters. And I still give it a try while doodling on a napkin!
What about other art forms?
I’ve been doing art – of one kind or another — for as long as I can remember.
Any particular styles or genres?
Mainly mixed-media works of acrylic, spray paint, fabric and photography.
Have you shown your work in galleries or formal settings?
I started showing in galleries in 2003 while living in Atlanta. I also showed in Miami, in Southern California, in Buffalo and at alternative spaces in Brooklyn in 2010.
Have you studied art in a formal setting?
I’m basically self-taught. I’ve studied art informally at FIT here in NYC and at the Atlanta College of Art/SCAD when I was living in Atlanta, Georgia.
Can you tell us something about your photography projects?
My series Extreme Fashion Window Design in NYC focuses on extreme fashion window designs in Manhattan portraying the glamour and grit of the city. Another series Trashion focuses on the exclusive branding found in our city’s trash. And my Instant Art Exposure project documents NYC’s street art and graffiti scene.
You are obviously quite passionate about street art and graffiti.
Yes, I have been addicted to it for as long as I can remember, and I officially started documenting it in 2007. I love its unique beauty and grand size. It’s gutsy and challenging. Just seeing it gives me an adrenalin rush!
I can relate to that! When did you begin this NYC project?
I became avidly serious about it about 14 months ago at Welling Court while watching Kingbee paint. He was the first to sign a photo.
And we all love your shots that the artists sign. It’s a brilliant concept. I wish I had thought of it myself! Did anything in particular inspire it?
Through documenting street art, graffiti and art/fashion mixes for my blog, I became even more interested in documenting the artists “in process.” It became my way of paying respect to them and the hard work they put into each piece on the walls. I felt that it was a unique and personal addition to the black book. And when artists began to respond enthusiastically, I continued.
Where is the project headed?
Well, people keep on asking me what I’m doing with it. Originally I was just doing it for myself. It was meant as a personal diary of photos to hang on my wall. But artists I’ve photographed and other people in the scene have suggested that I follow up on publishing a book and launching an exhibit that feature the works. And so in addition to what I do with my standard photography equipment, my primary focus now is on this project. Talks are now in the works for a series of books, gallery shows and select prints. I will never sell the originals, but I will choose, with the assistance of the artists, a select number to make into prints.
That sounds great! Who are some of the artists have you photographed?
They range from such legends as Blek le Rat, Lady Pink, Charlie Ahearn, Lee Quinones, Crash, Futura and Kenny Scharf to contemporary masters such as Shepard Fairey, Logan Hicks, Sp.One, Wane, Chris Stain, Billy Mode, Stik, Stinkfish, RWK and Icy and Sot. And I can’t imagine ever stopping!
Note: You can follow Leanna on Instagram at @leannav & #instantartexposure, in addition to her blog and her soon-to-be-launched website www.instantartexposure.com.
Interview conducted and edited by Lois Stavsky.
Leanna’s photos: 1. Buff Monster 2. Veng RWK 3. Hoacs 4. Queen Andrea 5. Rubin & Joe Iurato
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The Lower East Side Ecology Center’s eWaste Recycling and ReUse Warehouse — at 469 President Street on the corner of Nevins in Gowanus, Brooklyn — now boasts, in addition to its wonderful facilities, a sumptuous outdoor mural recently fashioned by the Wallnuts Crew.
Werc, close-up
Trans1, Dos…
And in addition to the first-rate art on its outside, the ReUse store at the Gowanus Warehouse offers audio equipment, alongside refurbished and heavily discounted computers and other electronics.
Photos by Dani Reyes Mozeson
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