Early last month, on some of this year’s coldest days, a group of dedicated artists — once again — transformed the exterior of East 1st Street’s once-neglected trailer into an intriguing outdoor canvas. Here are a few of the images that will continue to greet passersby through April 10:
Michael DeNicola’s tribute to the late actor Philip Seymour Hoffman
Vernon O’Meally, Edapt, Foxxface and Numb DSI
Edapt and Foxxface
Photos by Dani Reyes Mozeson and Lois Stavsky
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Tats Cru members — Bio, Nicer and BG183 — express their distinct creative visions in Blood, Sweat and Tears, a playful exhibit on view through Friday at TT Underground, 191 2nd Avenue in the East Village. Here is a sampling of the recent artworks on display by the legendary Bronx-based Mural Kings:
Another painting by Bio with his iconic heart
Close-ups from Nicer’s superheroes
A huge canvas by BG 183
And one of BG183’s smaller ones
And just a few blocks away — on Second Street off Avenue A:
Bio
Nicer
BG183
Photos of Bio’s paintings and mural by Lois Stavsky; photos of Nicer’s and BG183’s by Dani Reyes Mozeson
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Curated by the brand WATAAH!, Taking Back the Streets is a dazzling celebration of street art in honor of Drink Up, an initiative of the Partnership for a Healthier America (PHA). On exhibit at Wallplay, 118 Orchard Street, through today — Tuesday, March 4 – is a range of enticing artworks inspired by the Drink Up water drop logo. Here’s a small sampling of what can be seen at Wallplay, before the exhibit travels to Washington D.C., Philadelphia, Los Angeles and Miami:
And on the streets — on Jersey and Lafayette — Metro Zu
All photos of images by Dani Reyes Mozeson; Metro Zu in SoHo by Lois Stavsky
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You may have seen 0H10M1ke on the streets of NYC or at a public event where he creates instant matchbook portraits of strangers he meets. We discovered him at work on his serially numbered one-minute portraits at the opening of LA2’s solo exhibit at the Leila Heller Gallery this past December. We recently had the opportunity to find out more about him.
When did you begin drawing? Is this something recent?
I never had a formal art education, but I’ve been drawing all my life. I started way back as a kid in Ohio. I can’t remember a time when I wasn’t doodling or sketching on some surface.
When did you first come to NYC? And what was your initial experience like?
I moved here in 2002, and I became involved with a cult. I gave two years of my life to it, and by the time I left it, I couldn’t even draw a circle. I knew then that I had to reinvent myself.
How did you go about doing that?
The year of my 30th birthday – in 2006 – I did 1,000 drawings. I started my matchbox series of portraits, and my work was featured in a show in Williamsburg. I completed portrait 10,000 on June, 2011 at Governor’s Island.
Have you continued to exhibit your work?
Yes, I’ve exhibited in a range of places from Berlin, Germany to Governor’s Island here in New York City.
What inspired you to create your artwork in public settings – where you interact almost entirely with strangers?
My inspiration came from seeing UFO’s work on NYC streets. I love the way his iconic character surfaces unexpectedly.
These days, about what percentage of your time is devoted to art?
About 50%. I am a social worker by profession.
How has your work evolved in the past few years?
I began with one-line drawings and I have moved to color, digital and live drawings that I incorporate into performances.
How does your family feel about what you are doing?
My family loves me, but I don’t think they get it.
Any other interests?
Music. All kinds of music. I draw to music. It’s all about art and music. I create live drawings to the music of Comadante Zero, a Brooklyn-based electro funk music/art collective.
How do you feel about the role of the Internet in all this?
I’m over it. We’ve been oversaturated.
What do you see as the role of the artist in society?
I learned from Robert Henri how important it is to be a creator. According to Henri, the artist “enlightens and opens ways for better understanding.”
What about you? What’s ahead for you?
My goal is to create 100,000 matchbox portraits and tour with my band as its resident artist.
Editor’s note: 0H10M1ke will be drawing live with Comandante Zero at The Rubin Museum April 4 at 7 PM.
Photo 1 and 2: 0H10M1ke at the Leila Heller by Dani Reyes Mozeson; photo 3: 0H10M1ke sketch, courtesy of the artist; photos 4 and 5: PhotosL1ght Graff1t1 projected onto Brooklyn rooftop by Oz Skinner
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If you happen to be riding the NYC subways anywhere between the Brooklyn Bridge and Pelham Bay Parkway, you could be in for a treat – an impromptu art exhibit curated by veteran graffiti writer Nic 707. Michael Cuomo, a multi-media artist based in Yonkers, accompanied Nic 707 on a recent ride to share some of his new paintings. Here’s a sampling from the InstaFame Phantom Art Project:
These women who exited the train on the Upper East Side were delighted by Nic 707’s InstaFame Phantom Art Project!
Michael Cuomo, Wizard’s Well
Michael Cuomo, Amazon Jungle
Nic 707, Kilroy Goes Wild
Michael Cuomo, Astro-nuts
Nic 707, Apocalypse Aftermath
Nic 707, The Whole World in His Hands
Michael Cuomo, Bubblegum Ecstasy
Photo of Kilroy Goes Wild by Eddie DiBono; all others by Lois Stavsky
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Old School New York City writer George Colon aka AIM SSB credits graffiti with having saved his life in the early 70’s. Decades later, he is back in the game — this time with a message beyond his name.
When and where did you first get up?
I was living in Williamsburg, on South 3rd Street off Bedford. It was in 1970. I was 10 years old. I remember looking at a clean wall in my hallway building and thinking. “My name would look good there!” I started off using shoe polish.
What other surfaces did you hit up back then?
Other hallways, mailboxes and telephone booths. The city became my playground. Soon I was hitting trains and station walls.
What inspired you to keep tagging?
I saw how much it was embraced at Art and Design, the high school I attended at the time. And it gave me something to do.
Have you any early graffiti-related memories that stand out?
Seeing phenomenal handstyles — such as those of Super Strut, Stay High and Super Kool 223.
Did you generally go out alone or did you get up with crews back then?
Two of my classmates at Art and Design took me up to the yards up at Baychester and Parkchester. Once I discovered them, I was on my own! But then in 1972, I went on to form SSB, one of the largest crews in NYC. We SSB members saved each other’s lives. And graffiti saved us all, by giving us a voice and offering us an alternative to the drugs, gangs and violence that were everywhere around us.
How were you known at the time?
I gained popularity as AIM-SSB, but I was also known as OH-222 SSB to confuse the cops.
What did AIM stand for? How about SSB?
AIM was an acronym for Artist in Motion and SSB for Soul Stoned Brothers.
Who were some of the other SSB members?
There were many: Lee Quinones, Shadow, CAM, Do, Rise, Bang 2, Taxi, Fear, Toke, Bomb-One, Jazz, Jazz 2, Pace, Don1, Dime 139 and more.
What is the riskiest thing you did? And why did you do it?
Laying on top of a train while it was running from the Bowery to Essex Street. I was with Chino 13 at the time, and we did it to escape the TA rats.
How did your family feel about what you were doing?
When I first started drawing, my mother encouraged me. She would buy crayons and pastels for me. But when I got into graffiti, my mom was concerned. She’d say things like, “Why are you getting paint on your sneakers?” But they didn’t pay all that much attention to what I was doing.
Have you ever been arrested?
About a dozen times. Mostly for tagging and stealing. I would run fast, but not fast enough.
These days, about what percentage of your time is devoted to art?
Not enough. I do about two pieces a week, but my day job as a recovery coach and a motivational speaker takes up much of my time.
When you do work, do you sketch first or do you just let it flow?
Both. About 70% of the time I work with a sketch.
Are you generally satisfied with your finished piece?
Absolutely!
Do you have a formal art education?
Just the year and a half I spent at the High School of Art & Design. I’m largely self-taught.
Are there any particular cultures that have influenced your aesthetic?
There are Greek and Italian influences. My father is Italian, and I’m inspired by Greek graffiti.
What inspires you these days to engage with the graffiti culture?
The eagerness of young people to learn about it. I love their innocence and ability to explore. My organizations, Imagine Ink and United We Paint, promote graffiti and urban arts events for folks across the generations.
Do you prefer working with others? Or would you rather paint alone?
When I was younger, I preferred to work alone. But I’ve recently enjoyed collaborating with Orlando Rine Torres and Sexer.
Any thoughts about the graffiti/street art divide?
I really can’t answer that. I’d like to learn more.
Why do you suppose the “art world” has been so reluctant to embrace graffiti?
Graffiti was originally seen as a threat. The defacing and destruction of property was perceived as an “uprising.”
How has your work evolved in the past few years?
I’ve diversified my styles and am more open, in general.
How do you feel about the role of the Internet in all this?
It’s an asset to the movement; it gets our work out there.
Have you any feelings about the photographers/bloggers in the scene?
I feel positive about them. They give us exposure.
What do you see as the role of the artist in society?
To awaken awareness within others.
What do you see as the future of graffiti?
My hope is that it can be taught on many levels and used in a positive way.
What about you? What’s ahead for you?
Continuing to create art and educating others about graffiti.
Interview conducted and edited by Lois Stavsky; all images courtesy of George Colon; the final image is a collaboration between George Colon and John Paul O’Grodnick
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Blurring the lines among abstract graffiti, pop art and fine art, Dorian Grey’s current exhibit, Flow, features the works of the legendary Bronx-based artist John Matos aka Crash and UK’s Remi Rough. Some of the works were painted individually; others were fashioned collaboratively. All are distinctly stylish. Here’s a sampling:
Remi Rough and Crash, Make her blue eyes blue
Remi Rough, Never yours completely
Crash, Fantastic
Remi Rough and Crash, Letter R reconstructed
Remi Rough and Crash, Eye 03
Remi Rough and Crash, Letter C reconstructed
Flow continues through February 23, 2014 at Dorian Grey, 437 East 9th Street and Avenue A.
Photo of Make her blue eyes blue by Lois Stavsky; all others photos of artworks by Dani Reyes Mozeson
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This is the twelfth in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:
Brazilian artist Eli Sudbrack in Williamsburg, Brooklyn
Danielle Mastrion in Williamsburg, Brooklyn
Veng and Chris, RWK in Little Italy
Katie Yamasaki with Groundswell youth in Park Slope, Brooklyn
Sest 2 on Manhattan’s Lower East Side
Fin DAC & Christina Angelina — tribute to Lou Reed in Williamsburg, Brooklyn
Photo of Fin DAC & Christina Angelina by Dani Reyes Mozeson; of Chris & Veng, RWK by Tara Murray; all others by Lois Stavsky
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Based on the Lower East Side, LA2 creates bold, brightly-colored energetic works on a range of surfaces. Befriended by the legendary Keith Haring as a young teen, LA2 is best-known for his distinct tag that has earned him accolades both on the streets and in galleries and museums world-wide. I recently had the opportunity to interview him:
When and where did you first start tagging up?
I was 10 when I first started tagging. The street was my canvas. I lived on the Lower East Side, and so those were the streets that I hit.
Who or what inspired you at the time?
I noticed kids at the Boys Club and in school tagging up. And I was inspired by Lee Quinones’s work that I saw on subway cars and on walls in my neighborhood.
Did you tag alone or did you work with crews back in the day?
It didn’t matter. I just wanted to tag up. I worked mostly alone, but I did get up with TNS (The Non Stoppers) and El 3 (RIP), who later died when he was electrocuted by the 3rd rail.
You went on to collaborate with Keith Haring. How did you first meet Keith?
Keith was looking for me. He had seen my tag and wanted to find me. When Keith was working on a mural at Junior High School 22, Richie SOE came to my house and told me that Keith wants to meet me, and so I went over there.
How did Keith Haring’s work change after meeting you?
Before he met me, he was doing mostly simple characters. After we began working together, his work became more energetic. And soon after Rock Hudson announced that he had AIDS, Keith came out of the closet, and his artwork took on a more sexual tone.
What was it like collaborating with Keith?
It was great. I’ve always been fond of Keith as a person and as an artist. We travelled to Europe together, and Keith made sure that I was paid what was due me. I feel grateful to Keith, but not to the Keith Haring Foundation. But that’s another story.
Your artwork has been exhibited in galleries worldwide. How do you feel about the movement of graffiti and street art into galleries?
I think it’s great. It’s a win-win for both galleries and artists. We artists have to make money to keep doing what we’re doing.
Any thoughts about the graffiti-street art divide?
There’s less and less of a divide. After Keith Haring collaborated with me, the museums had no choice but to accept graffiti. This past year, I became the first writer to paint in the Children’s Museum of the East End in the Hamptons.
Who are some of your favorite artists?
They’re all dead. Keith Haring, Andy Warhol, and Basquiat were my favorites.
Do you prefer working alone or collaborating with others?
I generally work alone. But in addition to Keith Haring, I’ve collaborated with quite a few artists including Richard Hambleton, Kenny Scharf and my girlfriend’s daughter, Jasmin. And when Stik was in from London this past fall, I collaborated with him.
How do you feel about the role of the Internet in all of this?
I think it’s great. Since my girlfriend, Ramona, created the website, we’ve received invitations from galleries overseas in such countries as Italy and Germany.
Do you have a formal art education?
No, I’m self-taught. I dropped out of Seward Park High School to travel with Keith Haring and help him establish his career.
What is the riskiest thing you ever did?
Just getting my tag up is risky. I’ve spent time in jail for that. Whenever I take my dog, Nico, for a walk, I tag when he pees. And I’ve gotten locked up for that, along with Nico. He’s gotten locked up, too!
What inspires your art?
It’s inspired by my emotions…the things I go through… my thoughts and feelings. Creating art is how I express myself.
Do you work with a sketch in hand?
Never, it’s all straight out of my head.
Are you generally satisfied with your finished piece?
I’m always happy. I love them all.
How has your work evolved through the years?
It has gotten more detailed. There’s more line work and people tell me that it’s tighter.
What do you see as your role — as an artist — in society?
My particular role is to educate kids on how to express their creativity in a healthy way. They need to use the right materials and to cover their faces. I developed health problems (COPD) by not protecting myself when painting. I love lecturing kids and working with them. I will be doing a workshop with children this spring at the Angel Orensanz Center in conjunction with the Fridge Art Fair.
What do you see as the future of graffiti?
It’s going to become more and more valued as an art form.
The Europeans have always seemed to value it more than we have. Why do you suppose they are so much more receptive to graffiti than we here in the States are?
It’s because they appreciate art more, in general. It’s always been that way. And on a personal level, Paul Kostabi sold my art in Italy 20 years ago, gaining the attention and appreciation of Europeans.
What’s ahead for you?
Traveling, exhibiting both here and overseas, educating the youth and continuing to become healthier.
Editor’s note: A selection of LA2’s work in on exhibit at City as Canvas: Graffiti Art from the Martin Wong Collection at the Museum of the City of New York. Curated by Sean Corcoran, it opens tomorrow, February 4, and continues through August 24.
Interview conducted and edited by Lois Stavsky; first two photos — of LA2 collaborating with Keith Haring and of LA2 tagging — originally published in Keith Haring, Rizzoli — courtesy of LA2; all other photos by Dani Reyes Mozeson
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On exhibit through February at Great Neck’s Gold Coast Arts Center is WALL WORKS: The Art of Graffiti featuring works by 5Pointz (Rest in Power) curator and CEO Jonathan “Meres” Cohen and other artists who found a home at 5Pointz. Here’s a small sampling:
Hunt Rodriguez and daughter, close-up from sculpture, “Rest in Power, 5Pointz” (Click on link for video clip with full view)
First image of Zimad and Meres, close-up from photo by Richard Alicia; all others by Lois Stavsky
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