A range of faces surface daily on NYC’s public spaces — from RAE’s offbeat, endearing characters to JR’s remarkable Inside Out NYC project. Here are a few:
RAE in Manhattan
Youth Waste in Brooklyn (with Werds on top left)
Veng at Welling Court in Astoria, Queens
The Yok in Brooklyn
Ewok in Bushwick
Joseph Meloy in Manhattan
Aimee Cavazzi in Manhattan
JR’s Inside Out NYC Project in Times Square
Photos by Dani Mozeson, Tara Murray and Lois Stavsky
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Several first-rate writers have been busy in Bushwick this past week. Here are a few images:
Versatile style master Curve
Veteran NYC writer Wane COD
NYC-based Enue COD
West Coast-based Vizie MSK
Jick in action
Mast in action
West Coast legend Rime MSK
Keep posted to our Facebook page for many more first-rate graff pieces that have recently surfaced in Bushwick.
Photos by Lenny Collado and Lois Stavsky
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We recently had the opportunity to speak to the dynamic Mike Baca aka 2ESAE and Fernando Romero aka SKI of the collective UR New York at Pop International’s new pop-up location at the Atrium at 153 East 53rd Street – where a vibrant new series of the talented duo’s art is on view.
When was UR New York born?
Mike: It started back in 2002 as a clothing line. But it died out for a while.
Fernando: Then in 2011 we revived it as an art collective.
You two are such a great team. How did you guys meet?
Fernando: We met through a mutual friend in 2005.
What would you say is the key to your success as a team?
Fernando: We don’t let the success get to us. We do what we do because it feels right. As individuals we’re strong, but when we work together as a team, we are even stronger. And we are like brothers.
Do you guys have a mission of some kind?
Fernando: It’s all about individuality. Most people are sheep. The message is: Don’t be sheep. Be who you are, and be the best that you can be – whoever you are and whatever you do.
Have you a formal art education?
Mike: I went to the High School of Art and Design.
Fernando: I graduated from Parsons in 2006.
Any thoughts about art school, Fernando?
It was an amazing experience. I met so many talented people – students and teachers — and I now have friends from all over the world.
How has your work evolved in the past few years?
Fernando: We’ve begun to focus much more on detail. We experiment with different styles and variations of colors.
Mike: We’ve learned how to step out of our comfort zone.
How do you feel about the movement of graffiti into galleries?
Fernando: Even though it’s been going on for awhile, it’s a process. It will take awhile for graffiti to be accepted by the art establishment.
Mike: As long as you keep it real, it’s a great platform. And at this gallery – Pop International – a percentage of our sales goes to CAW, a non-profit that offers free arts workshops to kids uptown.
Tell us something about your experiences here at Pop International and CAW.
Mike: It’s been awesome. The folks here at Pop International are like family to us. And through CAW, we’ve been working with kids. It’s great serving as role models.
Fernando: Definitely. It’s been a great experience. And we get to hang out in this gallery and see our artwork hanging alongside the likes of Keith Haring and Basquiat!
Who are some of your favorite artists?
Fernando: Among my favorites are: KA, Belin from Spain and my partner, Mike Baca!
Mike: I like Skewville, REVS, Smart Crew, KA and See One.
Any thoughts about the graffiti/street art divide?
Mike: I can appreciate street art. I like the way it interacts with the environment. But there’s a natural tension between graffiti writers and street artists, as many writers risked their lives to make their mark. But we’re all in this together, playing in the same arena.
Have you any first graffiti memory that comes to mind?
Mike: I remember finding a can of spray paint in my basement. I took it to school with me and wrote my name in the schoolyard. I got suspended.
Fernando: I was about six years old when I saw my cousin writing for the first time in Astoria, Queens. By the time I was ten, I started writing my name around my neighborhood.
What percentage of your time is devoted to art?
Mike: My whole life is devoted to art. I don’t have a day job, and I almost never sleep.
Fernando: When I’m not making art, I’m thinking about what I’m going to make.
Any artists out there you’d like to collaborate with?
Fernando: How and Nosm, Os Gemeos, C215, Jose Parla, Doze Green, WK Interact…
Mike: If I could collaborate with anyone, I’d choose Blu, Roa and Mode.
Any thoughts about the role of the Internet in all this?
Fernando: I see it as good and bad. It’s good because it can give an artist mass exposure. But – at the same time – a nobody can become a somebody. And that’s not good.
Mike: The Internet is the devil. There’s just too much information out there. But on the plus side, you can get to show your work anywhere.
Any theories as to why graffiti is more embraced in Europe than here in the US?
Mike: People are more relaxed there and more appreciative of everything.
Fernando: Europeans are generally more open than Americans. They’re more laid back. Art has been a part of European culture far longer, and Europeans tend to respect and appreciate it more.
Which countries have you guys painted in?
Fernando: Australia, Italy, Austria, Israel, Brazil, the Dominican Republic, Canada, much of the US and Puerto Rico.
Any favorite cities?
Fernando: There’s nothing like NYC.
Where do you get your inspiration?
Fernando: Women, cars, buildings…just walking with my eyes open inspires me.
Mike: NYC. It’s a monster. It’s always alive and a constant source of inspiration.
Tell us something about your process.
Mike: It’s organic. We just let it flow.
Are you generally satisfied with your work?
Mike: We always strive to make it better.
What’s ahead?
Mike: Painting on a larger scale; working more with children and curating shows for people who don’t have the opportunities that we have.
Fernando: All that and making five times as much money!
Photos by Dani Mozeson and Lois Stavsky; the two trucks featured are by UR New York in collaboration with KA
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New York City’s doors are among the most expressive anywhere — sporting everything from tags and stickers to sophisticated images. Here’s a sampling:
NYC-based designer Jordan Betten in Chelsea
Faile in Brooklyn
Bast in TriBeCa
Philadelphia-based Doug Nox aka Harlequin in Brooklyn
TAG’s Army of One and Adam Dare on Manhattan’s Lower East Side
Cash4 Smells tag, Jellyfish and more in Greenpoint, Brooklyn
Katsu on the exterior of Eyebeam in Chelsea
Photos by Lenny Collado, Dani Mozeson and Lois Stavsky
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This is the eighth in a series of ongoing posts featuring the diverse range of trucks and vans that strike NYC streets:
Chilean street art pioneer Cekis
Kwaz in Midtown Manhattan
NYC’s prolific UR NewYork and KA in Downtown Brooklyn
NYC graffiti artists Sevor and Ideal
Veteran writer Wane in East Harlem
The Royal KingBee in Midtown Manhattan
Brooklyn’s Dek & Glue 2dx
Photos by Lenny Collado, Dani Mozeson, Tara Murray & Samantha Sabatino
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This is the third in a series of posts showcasing NYC’s stylish stickers that surface on an array of public surfaces:
UK artist, Paul Insect
French artist Franck Duval aka FKDL in Bushwick, Brooklyn
The ever-present Crasty
See One in downtown Manhattan
Baser sticker collage in Chelsea
SkinTone on Manhattan’s Upper West Side
Reka in downtown Manhattan
2Esae in Chelsea, Manhattan
Photos by Lenny Collado, Dani Mozeson and Lois Stavsky
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Huge fans of Sen2’s masterful artworks on an array of surfaces — from canvases to walls — we were delighted to have the opportunity to visit his South Bronx studio and pose a few questions to him.
When and where did you start getting up?
I first started hitting walls in Puerto Rico – where I grew up – when I was about 15. That was back in 1986.
What inspired you at the time?
I used to spend my summers with family in NYC up in the Bronx. There I discovered pieces by Daze, Crash and Seen. I also started noticing pieces in magazines by writers like Hex and Slick,
Have you a formal art education?
No. The streets have been my teacher. One’s experience is the best teacher.
Besides the 4Burners, have you belonged to other crews?
I learned a lot from Tats Cru when I was a member a number of years back. But I am no longer with them. And when I was in Puerto Rico, I painted with BWS.
What about collaborations? Have you collaborated with other artists on specific pieces?
When I’m in my studio, I generally work alone. But I’m currently working with KingBee for an exhibit of our works that opens on Friday, April 12 at Gallery 69 in Tribeca.
How do you feel about the movement of graffiti into galleries?
I feel it’s a great opportunity for artists. It opens the doors for many of us.
Besides Gallery 69, where else have you exhibited?
My artwork has been featured at the Smithsonian, at the Volkinger Hutte Urban Art Biennale 2013 in Germany and at Miami Art Basel. I’ve also been in other galleries abroad.
Have you any favorite cities?
New York City. The Bronx. That’s where it all began. But I also love Madrid, Spain and San Juan, Puerto Rico.
Why do you suppose graffiti is held in higher esteem in Europe than it is here?
There’s no unity here, and that’s part of the problem. We don’t work as a group to present ourselves in a way that will gain us respect and recognition. Every writer has too much pride.
Any thoughts about the graffiti/street art divide?
I like street art, but I will always consider myself a graffiti writer. Everything that I do is rooted in graffiti. And I’d like to see graffiti writers have the same opportunities that street artists have.
Who are some of your favorite writers?
There are many. Among them are: Bio, Beacon, Kem5 and KingBee.
And does anyone — in particular — inspire you these days?
The late Dare TWS from Germany.
What percentage of your time is devoted to art?
100%. I’m all in. Just about all the time – from early morning until late at night.
Any other passions?
I’m also a soccer fan. And I love spending time with my family.
How does your family feel about what you do?
They’re 100% behind me. My wife loves what I do.
Your art seems to be always evolving. Your work that was on exhibit at Fountain certainly blurs the lines between graffiti and fine art. Could you tell us something about that?
It all started with wild-style. Then I began to incorporate 3-D elements. And, more recently, my influences have been pop art and abstract art. Everything I do, though, is inspired by graffiti, and all of my current works have graffiti elements in them.
How do you feel about the role of the Internet in all this?
I like it. It keeps me up with what’s happening – both on the streets and in the galleries.
What do you see as the role of the artist in society?
To share with others one’s personal interpretation of the world.
What’s ahead?
Just getting better and bigger for me and my family.
Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky
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The first in a series of “Blackbook Pieces and Tags” features the work of veteran writer Louie Gasparro aka KR.ONE. Over 30 years ago, KR.ONE was hitting the trains; these days he continues to make his mark on a range of legal surfaces from black books to canvasses to huge buses. His work will be featured in the upcoming Flip the Script Book Release and Art Show at Reed Space at 151 Orchard Street on April 4 and in a solo exhibit at 5Pointz on Saturday, May 11.
KR.ONE writes Kashmir 172
Forty Deuce
The Lost Art of the Tag
New York City Tag Style
DoomVader
2Mint
All images courtesy of Louie “KR.ONE” Gasparro; the first image is KR.ONE for SAGE RTW
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Approaching his 80th birthday, Allan Ludwig, aka Elisha Cook, Jr., can be found just about every day in downtown Manhattan photographing the writings on the walls. With a BFA Degree in Painting and a PhD in Art History from Yale University, he explains his passion for graffiti and street art.
How did the name Allan Ludwig become Elisha Cook, Jr.?
When I first started posting photos of graffiti on Flickr, I was advised not to use my real name. I chose to identify myself as Elisha Cook, Jr. because he is my favorite actor. The name stuck!
So that’s it! When did you begin working as a photographer?
Almost 60 years ago. I was in my 20’s.
What attracted you to the field?
I started drawing in my room as a child. But I had difficulty drawing faces. I never liked the way my noses looked. And when I tried to erase them, I’d end up making holes in the paper. It drove me crazy! I decided that it would be easier for me to capture a face with a camera.
Had you any influences back then?
When I was about 13, my neighbor Max Coplan, an accomplished photographer, taught me how to use a camera.
When did the writings and images that surface on public spaces begin to engage you?
In the early 80’s, I walked into a school playground on Grand and Baxter and discovered that its walls were filled with graffiti. I was intrigued. But as I only used black and white film at the time, my earliest photos of graffiti are in black in white, and I wasn’t documenting it regularly.
What spurred you to photograph the streets so methodically since 2000?
My neighborhood had begun to gentrify. Changes were happening rapidly. Overnight the rent on a local restaurant soared from $4,000 a month to $16,000. I wanted to document these changes. And as soon as I switched from black and white film to color, I began noticing street art.
Have you had any particularly memorable experiences while photographing graffiti and street art?
I once came upon a love letter written by a woman from England to Faile that was posted onto the building at 11 Spring Street. She had assumed, incorrectly, that Faile was one person and single. I photographed her love letter and posted it onto my Flickr photostream. When the woman discovered her letter online, she asked me to remove it – which I didn’t. But the story doesn’t end there. She had just returned from Zambia with a love potion. She decided that the time was right for her to visit NYC to meet Faile. She would set up a meeting to buy a print from him. Surely, the love potion would work!
Did it? What happened? Did she ever meet Faile?
She did, but she encountered an unanticipated problem. When she inserted the love potion into her mouth, it distorted her speech and facial expression. She did meet the object of her love, but she decided against using the love potion. And that’s the end of the story.
Wow! What is it about street art and graffiti that has so captivated you?
It’s the thrill of discovery. There is something magical about it. I also love its inclusiveness and democratic nature.
Have you any thoughts about the street art/graffiti divide?
Most of the street artists I’ve met were trained in art schools, while the original graffiti writers didn’t have any kind of formal art education. And when the street artists started making their mark on the legendary building at 11 Spring Street off the Bowery, the writers felt that they were not getting enough space or respect. I remember walking by one day to discover the entire building sprayed all over with silver paint. There definitely is a divide.
What about your perception of the divide? What differences do you see?
Graffiti is a highly refined art. It is beautiful. The first generation of writers created an entirely new aesthetic. They invented a whole new language. Yet few people can understand it and appreciate it. Street art is far more accessible.
There are many folks out there who consider the illegal writings that you photograph vandalism. Have you any thoughts about that?
It’s a non-issue. It’s meaningless. It’s a political fiction invented by politicians and lawyers and the police who enforce it. It has no validity.
How do you feel about the move of street art and graffiti into museums and galleries?
The commercial world sucks the credibility out of graffiti and street art. It takes it out of its natural setting.
How do you feel about the role of the Internet in all this?
I think it’s wonderful. It makes everything even more accessible. I have Flickr contacts all over the world.
What do you see as the future of graffiti and street art?
I see it as the most important international movement in world art since American pop art. It’s here to stay.
All photos by Elisha Cook, Jr. Except for first two BilliKid paste-ups of Elisha, images capture NYC’s legendary building at 11 Spring Street, 2006-7
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Featuring a wondrous array of sticker art from first-rate handstyles to images of alluring women, SLAP: Adhesives and Egos, a DIY Sticker Exhibition opened this past Wednesday evening at Con Artist Gallery on Manhattan’s Lower East Side. Here are some images from the exhibit that continues through April 3 at 119 Ludlow Street.
Shaina
Klops
Serp
And from Wednesday evening’s opening party
Check us out on Facebook next week for more sticker images from the exhibit.
Photos by Dani Mozeson & Lois Stavsky
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