Graffiti

Born in Argentina and raised in the Bronx, veteran graffiti artist Nic 707 is once again riding the trains. Curious about the force behind the transient graff galleries that have been surfacing on NYC subways, we posed some questions to Nic.

Nic707

When did you first start getting up?

It was back in 1973.

Wow! So you were at the beginning of it all. What inspired you at the time?

My first hero at the time was Checker 170, the King of the 4 Line. And I saw what guys like Tracy 168, Rub 5 and Pnut 2 were doing.

What train lines did you hit back then?

Mostly the 4, 5, 2, the D and the old CC trains.  But I also hit the 7 and the 1 lines.

Did you work with any crews?

Lots. Among them was MGA – with Set 149, Padre, Stone High.  When I was 16, I started OTB and was its first president. Presidents that followed included Noc 167, Ban 2 and the current one, Cope 2.

Nic707

Were you ever arrested?

Let’s just say I was held against my will a couple of times. Life was more adventurous back then.

What is the riskiest thing you ever did?

Probably jumping off the trains when they were moving. I could’ve gotten killed. Some writers did. I also remember when I had to ride on the top of a train to escape some cops, surf to the next station and leap to the roof and lie there for two hours until the coast was clear.

How did your family respond to what you were doing?

They never supported me.  When I was 19, I returned from summer camp to discover that my mother had destroyed everything I had ever created.  That ended my early stint as a graffiti artist. Luckily, I found my way back to it about seven years ago.

What were you doing all those years you were away from it? And what brought you back to it?

I was doing lots of things – mostly stand-up comedy and other things that I shouldn’t have been doing. But I finally realized how much I missed my graffiti days.

Nic707

I’ve recently seen your work on walls here in the Bronx and up in Inwood.  I also saw it on exhibit at Gallery 69 in Tribeca. Have you exhibited anywhere else?

I took part in an exhibit at NYU and at a number of smaller private spaces.

How do you feel about the movement of graffiti and street art into galleries?

I applaud it. It pushes writers to continually refine their styles, and I think it’s great that they can make some money from their talents. I also like the idea of graffiti reaching folks who frequent galleries.

Why do you suppose graffiti seems to garner more respect in Europe than it does here – where it was born?

You’re never a hero in your hometown. And NYC is filled with too many haters.

Who are some of your other favorite graff artists these days?

There are many.  Meres, T-Kid 170, King Bee, Sonic, and Serve 1 are among them.

Do you have a formal art education?

No. But I attended DeWitt Clinton High School – along with dozens of other writers. It was the best art education I could get.

Nic707

Tell us something about your current project.

I came up with the concept in 2008 for “InstaFame Phantom Art.” It’s about creating moving art galleries – back on the subways where graffiti had its first and strongest impact. It’s about bringing people’s art to the people. Who really wants to read a Budweiser ad twenty times?

And how have folks reacted to it?

They love it!

And what about the “InstaFame” part?

Yeah. I want to be famous. Doesn’t everybody?

I’m not sure!  What do you see as the role of the artist in society?

To inspire others to dream and to follow their dreams.

How do you see yourself in five years?

I’d like to have my own graffiti reality television show.

Good luck! It sounds like fun! And in the meantime we’re looking forward to seeing more of your InstaFame Phantom Art galleries riding our trains.

 Photos by Lois Stavsky

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Boasting first-rate hand styles, cunning commentary and intriguing characters, the stickers that surface on NYC streets are among the best anywhere. Here is a brief sampling:

Australian born painter and installation artist Anthony Lister

Anthony Lister

First-rate hand stylist(s) Aidge and Serch

Aidge

Queens-based artist, curator and educator Alice Mizrachi aka AM

Alice Mizrachi

One of Curly’s playful statements — though usually handwritten

Curly

Brooklyn-based artist RAE

RAE

NYC’s prolific Katsu

Katsu

The legendary NYC-based artist Billi Kid in collaboration with the Russian-born graphic designer and illustrator Street Grapes

Billi Kid and Street Grapes on sticker

 Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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Speaking with Kosby

January 31, 2013

Kosby-in-Brooklyn-NYC-studio

We’ve been huge fans of Kosby since his stickers and paste-ups began gracing NYC’s public spaces a number of years back. Since, his artwork has surfaced in galleries and is currently on view at the Woodward Gallery Project Space.

When did you first become interested in art?

I have been drawing since I was a kid.  I was lucky that my mom loved what I was doing and bought me comic books to encourage me. My mom also taught me to accept people for who they are. I think that shows in my art.

When and where did you first start hitting the streets?

I started in Chicago between 1993 and 1994, and I began bombing buses. Then I met DREL and he introduced me to street bombing.

How did you guys meet?

He sat on a bench – next to me in church — and I was drawing a graffiti character on a piece of paper.  He was intrigued and we kicked it off. He went as Drel of KMD, BTC and MOM Crew. He also got me to do my first fill-in. He said if I did it at a specific spot on Fullerton Avenue – a particularly busy and dangerous one — I would be set, established as a graffiti writer. And I did it.

Kosby-red-bull-artwork-winner

How did your family react to the whole graff thing?

I’m sort of the black sheep of my family.  Ironically, though, graffiti saved my life. Logan Square — where I grew up — was gang-infested, and graffiti was a pass. When gang bangers stopped us, we explained what we were up to and they mostly left us alone.

Respect to the writers! Are you trying to get a specific message across with your work?

No specific message, but I like to be brutally honest. When I was younger, I was often isolated and shy because my family moved around a lot. Today, I’m more open. And that’s difficult for graffiti writers, as we usually play the whole smoke and mirrors game. But I like to be honest about who I am. I struggle with that in my art.

From where do you get your ideas?

My head. I have worked with plenty of people like Sure RIP, Overconsumer and Wisher914. Sure inspired me and prodded me to get better. And I’ve always liked what Cost and Revs were doing. Their poetic messages seem spontaneous and off the head. I ran away from home when I was younger to California and that’s when I was exposed to Mike Giant, Twist, Reminisce and Revok.

Kosbe-street-art-in-Bushwick-NYC

Have you collaborated with any artists?

I’ve done work lately with Cekis, Zato and Crasty. And I have a ton of homies I would like to collaborate with.

Tell us something about your process.

I care less about how something looks and care more about the act of doing it. I did a tribute piece for Nekst RIP recently on a rooftop.I was thinking about how he would never get a chance to paint again, I didn’t like how the piece was turning out, but it was just about doing it. I like having fun and I hope that translates through the work.

What materials do you like to work with?

Anything…spit. ink. markers, vintage paper, cloth.  The other day I tagged with Montana refill paint, mistaking it for an acrylic paint marker.

Have you any favorite artists?

I am a fan of Abstract Expressionism. Some of my favorite artists include: Robert Rauschenberg, Chuck Close, Espo, EKG, Michael Allen Alien, Dee Doc, Anthony Lister, L’amour Supreme, Suck Lord and Rammellzee.

Kosby-street-art-at-Woodward-Gallery-Project Space

Have you ever been arrested?

Yes. I was often bailed out of jail by mom. She always worried about me when I stayed out past my curfew. Even though my disposable cameras – that I stole to shoot my work — were confiscated at the time of my arrest, I always got them back in time to get a flick of my mom bailing me out. ‘sorry, Mom.

What are some of your other interests?

I love photography, spending time with my friends and girlfriend and exploring the city.

How has your work evolved?

I’ve never been a good judge of my work. I am actually dangerous with it because I can’t tell when a particular piece of work is done. I keep drawing on it and drawing on it. I’m more interested in people’s reactions to it. I believe I’ve gotten looser and more chill. I don’t like the trendy. I have been careful not to lose that looseness to my work. It’s really a balance I’m looking for.

What do you think about the graffiti and street art divide?

I don’t think there is a divide. It’s a culture within a culture. I’ve seen street artists going over graffiti not knowing what they were doing. If you’d like to learn the proper etiquette, call me at 1 (800) GRAFFPRO.

Kosby-portrait-in-studio

What do you think about the Internet in all of this?

It’s good. It’s such a part of our mass culture.

Do you see any danger in Internet oversaturation?

Sure. There should be a “Get off the Internet Day.”  I often put messages like this on my stickers, like “Don’t Use Your Cell Phone Day.” I usually use the Internet in the morning when I check out www.theworldsbestever.com. I’ll be checking out StreetArtNYC.org from now on too. But that’s it.

How do you feel about your work being shown in galleries?

I love to share my art; it makes me happy. I like to stand next to people at galleries as they check out my art. I like getting their honest response to it.

When you’re not getting up on the streets, where do you tend to work?

It’s changed over the years. My mom gave me my first studio. For a while, my kitchen served as my work space, and I had collectors call me wanting to see my work. I said, “Of course, just come to my kitchen.” I’d say I’m in a better space now.

Kosby-studio-artwork

Who do you follow these days?

I’m looking at Lois Stavsky, as well as Martha Cooper, Angelo from Doyle Auction House, Royce Bannon, Brooklyn Street Art, Alex Emmert, SuckLord, who’s a major mentor, and Simeon from Art Hustle.

What do you see yourself doing in the next five years?

Chilling with my family and friends, enjoying a nice glass of wine, while we laugh with some purple kicking it back with my boy, Lenny.

‘sounds cool!

I want to say thank you to StreetArtNYC for being so supportive of NYC artists and to Lois for being so positive. And don’t forget, guys, to check out the StreetArtNYC app!

Interview by Lenny Collado; photos by Dani Mozeson and Lois Stavsky

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This past weekend — on one of winter’s chilliest days — we hit Bushwick, where we caught some new images and revisited others.

New from Brooklyn-based Elbow Toe with Veng‘s signature birds

Elbow Toe and Veng

Belgian artist Roa

Roa

4BurnersDasic and Rubin with Madrid-based Okuda

Dasic, Rubin and Okuda

Berst tribute to NEKST, RIP

Berst

Brooklyn-based Never

Never

Brooklyn-based Bast

Bast

Bast, close-up

Bast close-up

Photos by Lenny Collado

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NYC’s Dashing Pavement Art

January 21, 2013

Paul Richard

From Paul Richard’s elegant gentlemen to Dceve’s stylish tags, the images that surface on NYC’s pavement intrigue:

Another one by Paul Richard

Paul Richard

The itinerant Swamp Donkey aka Swampy

Swampy

Meres at 5Pointz

Meres

Close-up of extraordinary piece by the wonderfully talented David Ellis

David Ellis

The iconic UFO

UFO

The elusive stikman

stikman-street-art-on-NYC-pavement

And stylish writing by Dceve of the legendary Smart Crew

DCEVE

 Photos by Dani Mozeson, Tara Murray & Lois Stavsky

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Speaking with Rubin

January 16, 2013

Rubin-graffiti-and-street-art-action-in-Bushwick-NYC

Rubin’s exquisite murals surface here regularly in NYC on the streets of Brooklyn and the Bronx.  Each one is a cause for celebration.  We recently had the opportunity to speak with the talented artist.

When and where did you start getting up?

I started tagging in 1985 – age 10.  I was living in Gothenburg, Sweden. I grew up there among the concrete projects. Their walls were my first canvas.

What inspired you?

I watched the movie Beat Street at my friend’s house. That started everything. The movie had a huge impact on me, as did growing up in the projects.

How did your family feel about what you were doing back then?

My mother worried a lot. But she was supportive.

Rubin graffiti

Do you have a formal art education?

No. I never wanted to go to art school. I studied music and played in several bands in my native Gothenburg.

Back in Sweden, did you work alone or with a crew?

I painted with NTA (Night Time Artists) back in Sweden. But I also painted alone.

What about here – in NYC?

I’ve collaborated mostly with 4Burner members:  Sen2, Dasic, Owns, Deem, Gusto and Logek.

Would you rather paint alone or with others?

I like painting alone, but painting with others is important for artistic growth.

Rubin-street-art-and-graffiti-in-NYC

Is there anyone in particular with whom you would like to collaborate?

I would love to collaborate with Futura. That would be something.

Have you any preferred spots and/or surfaces?

I love the concrete walls up in Hunts Point in the South Bronx.

What is the riskiest thing you ever did?

I climbed five or six stories on a drain pipe to get to the top of a building.

Why?

Because it was an impossible spot that no-one had reached before.

Rubin-street-art-and-graffiti-in-Brooklyn-NYC

Your artwork seems to blur the lines between graffiti and street art. How do you feel about the graffiti/street art divide?

We should be on the same side, but we’re not. There is definitely a beef between street art and graffiti. I have always tried to bring these two opposites together in my art. It’s very challenging. There is so much ego in graffiti and street art trends seem to come and go.

How do you feel about the movement of street art and graffiti into galleries?

It’s exciting and interesting. I see it as a natural progression.

Have you exhibited in galleries?

Mostly in Sweden, but I exhibited along with Cope2 two years ago in Nolita.

Rubin-graffiti-action-at-Bushwick-Five-Points

What is your main source of income these days?

My main source of income is photography. I’m also involved with the production of a Swedish/Finnish arts and culture magazine.

How do you feel about the role of the Internet in all this? And do you follow any sites?

I think it’s great. I follow 12ozProphet and StreetArtNYC.

What inspires you these days?

Craftsmanship, Kraftwerk’s minimal electronic music and the contrasts between my two homes: Bushwick, Brooklyn and the gorgeous woods of Lapland, where I spend the summers with my wife.

Are you generally satisfied with your finished pieces?

Never.

Rubin-graffiti-in-Bushwick-NYC

When you look back to what you did two years ago, how do you feel about it?

Two years ago feels like an eternity, especially when living in NYC. I tend to look forward instead of looking back.

How has your artwork evolved through the years?

In the nineties, I was one of the most active writers in Sweden. In the mid-nineties my graffiti took a turn to the geometric. From 1999 to 2008, I took a break and focused on my band, Kingston Air Force. I can’t really describe my usual style. Someone once called it abstract geometry; that’s a pretty good description, but my style is still evolving.

 Of all the cities in which you painted, which is your favorite?

New York City. I love the energy and the mix of people. Nothing beats New York.

 Who are some of your favorite artists?

The Swedish artist Gouge. He’s amazing!  Bates from Denmark, Dondi and Riff 170 from NYC, C215 and Nelio from France, Boaone from Germany and  Sofles and Fecks from Australia.

Rubin-street-art-and-graffiti-with-character-in-NYC

 What advice would you offer young writers and younger artists?

 Work hard. Learn the craftsmanship. Perfect your technique. Practice. Be a good role model to younger writers. Be nice.

 What do you see as the role of the artist in society?

Every artist is an egoist, and I’m no exception to the rule. I interpret what I see and how I feel through my art. I create for myself, but I’m very humbled every time someone appreciates my pieces. It means that they appreciate my take on what’s going on around us. That’s very flattering.

Where do you see yourself in five years?

I don’t even know where I’ll be next week. NYC has taught me how to live right here and now, and I’m really enjoying taking a day at a time.

Interview by Lois Stavsky with Lenny Collado and Tara Murray; photos by Lenny Collado, Dani Mozeson. Tara Murray and Lois Stavsky

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Mr.-Mustart-character-at-Green-Villain-in-Jersey-City

Just a short drive from NYC, a seemingly abandoned warehouse is home to a treasure trove of urban images — from sundry tags to stylish graffiti to wondrous murals. Based in Jersey City, the Green Villain serves as a gallery, a studio space for artists and musicians, a lounge, a showroom and more. Mesmerizing images — by both local and international artists — grace its interior and outdoor walls. Here are a few captured on our recent visit:

Newark-based Mr. Mustart, close-up from huge murals on interior walls

Mr.-Mustart-graffiti-character-at-Green-Villain-in-Jersey-City

Serringe  

serringe-graffiti-at-Green-Villain-in-Jersey-City

Then One, Mr. Mustart and Nasko artwork — for sale

Then-One-and-Nasko-graffiti-mural-at-Green-Villain-in-Jersey-City

Tags, tags and more tags!

Graffiti-tags-at-Green-Villain-in-Jersey-City

Sqew

Sqew-graffiti-at-Green-Villain-in-Jersey-City

And among the dozens of images gracing the outside —

4sakn

4saken-graffiti-at-Green-Villain-in-Jersey-City

 French writer Ezor

Ezor-graffiti-at-Green-Villain-in-Jersey-City

And currently underway are plans for the Green Villain’s first NYC event.

Photos by Lois Stavsky

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This is the seventh in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:

Toofly on Manhattan’s Lower East Side

Toofly

 French artist Frank Duval aka FKDL in Brooklyn

FKDL

FKDL

Lady Aiko in Bushwick, Brooklyn

Lady Aiko

Hef in Williamsburg, Brooklyn

Hef

 Russell King on the Lower East Side

Russell King

Shiro and King Bee in the Bronx

Shiro and King Bee

 Photos by Lenny Collado, Tara Murray and Lois Stavsky; Toofly image courtesy of the artist

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Speaking with Baser

December 31, 2012

Baser’s masterful handstyle can be seen on sundry stickers on a range of public surfaces throughout Manhattan. We recently had the opportunity to pose some questions to him. 

Baser sticker collage

When was Baser born?

I started writing Base in 1986 in Pittsburgh. It mutated to Baser in 1999 when I began using stickers as my primary means of getting up. By then I was living in Brooklyn where I had originally been exposed to graff and where it had seeped into my brain.

Why did you choose that name?

The letter combination. I know that its connotation is drug-related. But that had nothing to do with it. Many people have suggested I change it, but I’m stubborn. Besides, after the Godfather dropped a signature in my black-book to that name, I felt it was official. So that’s it!

Any formal art training?

No. Just the desire to rock my name with style. But for all the kids out there: Go to school, master your craft and get paid!

Baser

What made you go postal?

I’d been getting up with labels since ’99. Not postals or name-badges. But my supply of free labels dried up about the same time a number of books came out on the subject. And except for a few clipped tags, Baser was nowhere to be found. Burn! It became evident at that point that I needed to broaden the palette. So I started using a variety of labels, developed my style and put in the work. This way, book or not, the streets would know and I’d be certain I put in my best effort.

What made you want to share your style?

I didn’t necessarily want to ‘share’ my style. Maybe more like competing for style. I’d put stickers up to entertain myself while walking the city. I certainly liked comparing various hand-styles and wanted to see how I fit in. The quality of style a few years back drove me to take stickers seriously. So I could look at my work and be proud.

Any favorite writers?

There are so many amazing writers today. And with the specialty paints and caps, it’s even easier to produce quality work. But personally, I would go back to the cats I grew up admiring and the pioneers before them. Dudes like RTW Crew, Dondi, TFP Crew, Seen (UA), T-Kid, Phase 2, Billy 167 and Fuzz. The list goes on.     

Baser

 What about handstyles? Are there any handstyles you admire?

I’ve always been a fan of many hands coming out of New York City. But to be specific, Zephyr, Revolt, Haze and Trike were the first to do it. Brooklyn and Manhattan styles, for me, unquestionably kill it. Later on the stickers of Sure and Faust, Twist and others of the late ‘90s and early 2000s lit a fire in me to skill up.  I might add, though, that it’s a pleasure to see anyone from anywhere who’s doing it well.

How has your style evolved?

It’s constantly evolving because I always strive to do better. Well, I hope it’s gotten better and more pleasing to the eye. Balance, composition and flow are three ingredients I try to ingrain in the muscle memory. The less my hand needs direction the more room there is for improvisation. Then more of my soul pours out and people feel it. Anyway, that’s the theory and, hopefully, the evolution is evident.

Any past collabs?

Not really. I stick to myself mostly. I did some work with Sabeth718 on the zine Stuck #1. I, also, worked on the zine Bad Things Come in Two’s with Feecees from Miami, produced by TrustNoOne. And I did a few personal ones with Chris RWK and Paecher from Colorado. That’s it. I like to keep it limited because the reality is I’m out there alone. It keeps it simple. Besides, I got more fingers on one hand than I have friends.

Baser

Do you work with anyone these days?

Currently I’m doing some work with KA and MTK76. We’ve been hitting the same spots for years, and we hold a mutual respect for each other’s work. It just made sense to hook up. They’re definitely two cool and talented people. As for anyone else, it remains to be seen.

Have you any thoughts about the current graffiti and street art scene?

I miss everything about the pre-Giuliani New York, especially the graff scene. I’m not too hip to all these street artists. They do what they do, and some of it is really cool. But for me it’s always been about writing, and these days, limited to stickers. So I’m not sure I can judge the current scene. As long as they don’t go over me!  Like Mare 139 said, “We may have lost the trains but we’ve gained the world.”

How do you feel about people peeling off your stickers?

I hope they last on the streets, no doubt. But I give away so many to the city that it balances out the fact that I sell sticker packs. I’ve always said, “If you don’t want to prop the dough on a pack from me, then start peelin’ and stealin’.” I don’t get mad; I just go in with more. Ha!

Baser

What’s your most memorable graffiti moment?

I could hit you with a few clean train chase stories. But the most memorable was back in 1989. A couple of so-called friends came in from out of town. I took them on a flick mission to different spots around the city. I knew Vulcan worked at the old Forbidden Planet near Union Square. So we decided to go down there and see if he would drop a tag in our books.      

Did he?

When we got there, we went downstairs and there were these two cats there — one dude at the register and a dude with a Kangol hat. No Vulcan. It turned out he was off that day. But the guy with the Kangol was looking for him too.

“You don’t write, do you?”  he asked us.

“Yes!” I replied, nodding toward my book.

He quickly glanced through it and handed it back, telling us he was Phase 2.

Wow! The Godfather!

He asked if we knew who he was. No doubt because of our age, we looked ignorant. But of course I did. I had subscribed to the 1980’s zine IGT he did with Schmidlap. Also I was an early collector of books on graff, so I had seen a photo or two of him and definitely his work.

“If you have time, we’ll head over to Union Square and I’ll do something in your books,” he said.

We headed over.

And what began as seemingly random lines all over the page turned out to be a masterpiece. I hadn’t seen anything like it. He did one for each of us, but mine seemed more complex. All the while, he schooled us on the history of writing and the birth of Hip Hop. It was a great oral history lesson. I will never forget that day and will always be grateful to him.

Have you exhibited your work?

Yes! Everywhere from 8th Street stir up to 80th Street! As far as galleries go, I had a few stickers exhibited at NYU’s Bronfman Center. I also recently donated a collage for the Sandy Relief Auction at Trumbull Studios. There might still be some of my work displayed at the Bomit Pop Up shop in California. But that’s it.

Henry Chalfant

How did you start selling your work?

Early on I’d give them away or trade. But that didn’t work out too well. So as interest went up, I put a price on sticker packs and some of the larger pieces. I’m not making a living at it, nor is it why I do it in the first place. But I’m not one to turn away cash. Who is?

What do you see as the future of stickers on the streets?

Not sure. It’s looking pretty dim. There’s only a few of us left doing quality work. I miss the news boxes with their collages of first-rate handstyles that were all over the city a few years back. I was recently looking at some flicks from just a couple years back, and styles were great. Part of the reason I started doing collages on the boxes is because they were too vacant or sporting just a few stickers that were plain garbage. I guess we’ll see.

How do you feel about the role of the Internet in all this?

The Internet, with its entire social media, opened up a worldwide stage for us. It’s part of the game now. But nothing beats actually walking the streets or riding the trains and experiencing graff as it was meant to be seen. I still get that rush when I turn the corner and Bam! there’s a dope tag, fill-in or piece.

What’s ahead?

I don’t know. What are the choices?

Interviewed by Lenny Collado; photos by Dani Mozeson, Lois Stavsky and courtesy of the artist. Final image features noted photographer Henry Chalfant — checking out Baser’s stickers on exhibit at NYU’s Bronfman Center

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This is the fifth in a series of ongoing posts featuring the diverse range of stylish trucks and vans that strike NYC streets:

Sevor and Ideal

"Sevor and Ideal"

Cinik

Cinik

Ski and Optimo Primo

Ski and Optimo Primo

Staino

Staino graffiti

Noxer and 3ess

Noxer and 3ess graffiti

 Roda

Roda graffiti

Repo

Repo graffiti

Toper/Smart Crew

Toper of Smart Crew

 Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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