Interviews

Speaking with Graphic Artist and Music Enthusiast CHema Skandal!

December 3, 2016

On our recent visit to Chicago, we discovered the delightfully playful aesthetic of the hugely talented and prolific graphic artist and music enthusiast CHema Skandal! An interview with the artist follows:

I love your artwork’s playful, spirited – often-irreverent – sensibility. What is your main inspiration? The roots of your aesthetic?

I grew up in Mexico City, and its distinct culture has inspired my aesthetic. I was influenced by everything I saw around me – hand-painted street signs, eye-catching graphic designs, everyday visual communication… Popular culture, in general, – and particularly music – is a constant inspiration. And since coming to Chicago, my work has been influenced by what I see here.

On visiting Pilsen, we came upon a mural that you painted. When did you first paint on the streets?

Yes, that was precisely the first time I painted on the streets. The first mural I ever did is here in Chicago.

What inspired you to paint a mural in a public space?

That mural in Pilsen was commissioned by a city cultural program. It coincided with me wanting to explore and try a different medium like this. At the same time I met Oscar Arriola and Brooks Golden (RIP) who brought me into street art and exposed me to many graffiti and mural artists. Reflecting on it, I had done some wheat pasting before while promoting concerts or sociopolitical topics.

How does Chicago’s street art and underground art scene differ from Mexico City’s?

A decade ago it was easy to find stickers and wheatpastings within Mexico City. But there have been mural and graffiti artists for longer, and really good ones…mainly in the outskirts. I don’t have this background, so I can not tell you much about this, but I think in many ways they are very similar. Mexico City is one of the biggest cities in the world, so you can find practically any type of art, whether independent or more affiliated to cultural organizations or brands. I feel that the scene here in Chicago is more open. Here I was embraced and welcomed by individuals and galleries alike.

Where else have you shown your work – besides here in Chicago and back in Mexico City?

I’ve shown in different places, from alternative spaces and libraries to galleries and museums. Among the cities I’ve exhibited in are: Toulouse, Lyon, Berlin, Madrid, Barcelona, Addis Ababa, Kingston, Puebla, Oaxaca, Tokyo and here in the U.S.

Do you have a formal art education?

Yes. I studied Visual Communication & Illustration at U.N.A.M.’s National School of Art.

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

I was the last one to use it! I think it can be overwhelming, but it has become a helpful platform for us artists to share our work and promote ourselves.

And is your artwork the main source of your income?

Yes, as of right now I am lucky my illustration work is steady. My projects range from publicity — like flyers, magazine illustrations and printed posters — to commissioned art.

Can you tell us something about your process?

Almost everything I create is by hand. I work with inks, acrylics and oils. I usually start a project like that and then transfer it to the computer to finish it off. I especially enjoy the painting process. I like the organic texture of what I can produce that way. I’ve also studied traditional printing techniques. Lately I’ve been getting back into block printing, one of the first mediums I learned. I find it interesting how you can reproduce prints and also the history of it.

Any favorite artists? Artists who’ve influenced you?

I like and admire many, mainly for their unique way they represent their visions. Among my favorites are: the late Mexican artist Jose Guadalupe Posada; the American comic artist Charles Burns and the satirical street artist Banksy.. I also like American and Cuban poster makers from the 60’s.

How has your work evolved through the years?

I think as an artist you are always learning from others. I’ve discovered work that inspires me and makes me want to emulate a technique and try it. Most of the time during this experience you find something that fits your work, like with street Aart in my case. I am still exploring it. My work has changed, and I hope it keeps evolving.

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

I think an artist is an amplifier of society. Artists should stimulate the feelings and ideas that are hard to digest. This can be very subjective, of course, but in the end that is where the individual’s sensitivity should focus on. An artist should reflect on the social movements of our time.

What’s ahead?

I would like to learn old painting techniques that are not in use anymore. And to find a residency in a far deserted island.

Sounds good!

All photos courtesy of the artist; interview by Lois Stavsky with Tara Murray

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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Jeffrey Ian Ross on The Routledge Handbook of Graffiti and Street Art

November 30, 2016

An in-depth analysis of graffiti and street art, the Routledge Handbook of Graffiti and Street Art presents a strong sampling of the current scholarship in the field. Edited by University of Baltimore Professor Jeffrey Ian Ross, it is appended by a glossary of graffiti terms and a chronology of graffiti beginning with early cave paintings.

Published earlier this year by Routledge — the world’s leading academic publisher in the Humanities and Social Sciences — it is divided into four sections, offering a range of theories by thirty-seven contributors on the:

History, Types, and Writers/Artists of Graffiti and Street Art
Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art
Regional/Municipal Variations/Differences of Graffiti and Street Art, and
Effects of Graffiti and Street Art.

With its mix of aesthetic, cultural, sociological and political perspectives across a richly diverse spectrum of topics – from the history of freight train graffiti in North America to the value of street and graffiti in the current art market – it is a fascinating foray into one of the most significant global movements of our time. Among the many essays of particular interest to those of us immersed in the current scene are: Rafael Schacter‘s thesis of graffiti and street art as “ornamental forms;” Jessica N. Pabon‘s examination of gender in contemporary street art; Jeffrey Ian Ross‘s discussion of London’s contemporary graffiti and street art scene; Mona Abaza‘s analysis of the graffiti and street art that surfaced in post-January 11 Egypt, and Peter Bengtsen‘s discussion of the value of street art removed from the street.

An interview with Professor Jeffrey Ian Ross follows:

What initially spurred your interest in graffiti?

Beginning in childhood and continuing during my high school years, I spent a considerable amount of time creating visual art – graphic design, painting, photography and sculpture. Frustrated and/or disappointed with the quality of instruction in my public high schools, I enrolled in and completed courses at the Ontario College of Art–now Ontario College of Art and Design — in Toronto. Later, I was accepted to the Central Technical School Commercial Art program, as well as the Photographic Arts program at Ryerson College — now University–, but I chose not to attend. In many respects, my study of graffiti and street art, and the content of this book represent a way of coming full circle. The scholarly study of graffiti and street art deals with many subjects close to my personal interest areas, including codes, control, crime, criminal justice, deviance, gentrification, harms, illegalities, identity, state responses, power imbalances, protest, punishment, resistance, subjectivity, subterranean processes and networks, surveillance, urban incivility and vandalism.

What inspired you to edit a book of this nature?

In 2012 I decided to teach an undergraduate class on “Graffiti and Street Art” at the University of Baltimore. Over time, as I started to read the body of work on graffiti and street art, I noticed that it was short on empirical scholarly analysis, was of uneven quality, and was distributed through a diverse number of scholarly venues. What was missing was a reference book that presented and analyzed the important research, theories, and ideas related to the field of graffiti and street art. I was determined to assemble a collection of original, well researched and written pieces created by experts on this subject under one literary roof. This handbook is the result of this effort.

How do you account for the increased interest among academics in graffiti and street art?

Graffiti and street art are pervasive in cities around the world. You cannot ignore it. Because the amount of graffiti and street art has increased since the 1960s and has changed in form and content, it is something to be examined by an interdisciplinary cadre of scholars.

How did you decide what topics to include?

Through an intense reading of the scholarship of graffiti and street art, and by consulting with some of my contributors, I was able to disentangle what are/were the most important topics to include in the book.

And how did you decide which academics/scholars/authors to include?

Again through a careful read of the scholarship and by engaging with my contributors with respect to who might be the most appropriate scholar/author to write on a particular topic, I was able to narrow down which academic to invite to write a chapter.

Are there any particular theories presented here that particularly surprised or enlightened you?

I am a big fan of subcultural theories of crime, but recognize that there are numerous other theories embedded in other social sciences and the humanities that are relevant here, including different kinds of literature that play into the study of graffiti and street crime, like gentrification, space, etc.

Who is the audience for your book?

The Handbook is easy to read and designed to answer common questions asked by undergraduate and graduate students, as well as by experts on graffiti and street art. This book is also accessible to practitioners — individuals working, or aspiring to work, in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, urban studies, etc., as well as policy- makers in these fields. In addition, it is of interest to members of the news media covering stories on graffiti and street art. The analysis and writing are accessible to upper-level university students — typically referred to as juniors and seniors at American universities — and graduate students. This volume will also be useful for scholars and libraries, and can easily be utilized in the classroom context. A reference book of this nature will be of interest not only in the previously mentioned scholarly fields, but it will also be specifically relevant to those institutions that have programs in cultural studies, visual arts, tourism, and museum studies. Last but certainly not least, the Handbook will appeal to a wide international audience.

Photos for this post by Jeffrey Ian Ross: 1. Baltimore (Graffiti Alley); 2 NYC & 3. Santiago, Chile; interview by 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 for Android devices here.

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Joe Iurato Fashions His Signature Cutouts for Washington DC Tour of Red Bull Flying Bach Dancers

November 26, 2016

This past summer, Red Bull reached out to Joe Iurato — one of our favorite artists — to create his signature wooden cutouts to help support and promote the upcoming Washington DC tour dates of Red Bull Flying Bach, a new dance tour that fuses classical music, break dancing and modern dance, set to Bach’s “The Well-Tempered Clavier.”

An interview with the artist follows:

Can you tell us something about the process of creating your distinct cutouts?

It begins with a photograph of a central subject and a story in mind. Once I have the image I want to work with, I create my layer separations for the stencils. I don’t use a computer program or a filter to create my layers. I just print the photo out multiple times in black and white at the exact size I want the wood cutout to be. Then, I cut my stencil layers by working directly from the unaltered photos, more or less drawing the tones loosely with a knife. Once my stencils are cut, I make an impression of the first layer, a silhouette, on a piece of wood.

And how does the piece get cut? At what point is it ready for placement?

The piece gets cut on a scroll saw, which is good for making cuts up to 24”, as it has a thin blade and allows me to maneuver intricate cuts. The cut then gets sanded and primed. Then, I lay in my stencils – spraying them one layer at a time. When the piece is completed, I’ll varnish and seal it. Lastly, I’ll add any hardware to make it stand, float, whatever– all depending on the intended interaction. At that point, the piece is ready for placement.

How do you decide where it will be placed?

Sometimes I know where the completed work will be placed; other times, it’s a matter of hunting for the right location. I always install them by myself, mounting them securely. The challenge is finding a location where they will last for awhile! For this project, Red Bull is securing several locations, based on where they will work best, for 10-12 of my 16″ pieces. Three similar large scale wood cut pieces — roughly 6 feet tall — will be on display from January 6-8th at the Warner Theater for the DC performances of Red Bull Flying Bach.

How long does it generally take to create a 16 inch piece?

It depends on the level of detail in the particular piece and where I am in the process. If I’m going from initial concept through to final, then it usually takes me about three to four days to create the first one. But once the stencils are cut and it’s a matter of ripping wood cutouts and spraying them out, I can make duplicates within a day.

How does creating this work for Red Bull differ from the way you generally work?

I generally work from my own imagery, but in this case, Red Bull has provided me with photographs of the Red Bull Flying Bach dancers to work with and is involved in securing locations. As I don’t know specific locations, I’ve chosen a variety of movements that could work in a range of location.

Can you tell us a bit about your experience of working with Red Bull?

It’s been very exciting. I, myself, was once a breakdancer! And Red Bull has given me complete creative freedom — something very important to my artistic process.

Special thanks to Karin du Maire who met up with Joe Iurato at Red Bull Studios in Chelsea last week.

Photo credits: 1 & 4 Karin du Maire; 2 & 3 Drew Gurian, courtesy Red Bull

Note: Red Bull Flying Bach dancers will be performing in DC at the Warner Theater, January 6-8. Check out dates of all upcoming shows here

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Speaking With Travel and Street Photographer Karin du Maire

November 24, 2016

Since we first discovered Karin du Maire‘s Instagram account, we’ve been fans of her hugely impressive documentation of street art and graffiti. We recently had the opportunity to sit down with her.

We love your documentation of the current street art and graffiti scene – in NYC and in your travels. When did you first turn your lens to urban culture, particularly street art?

As a travel photographer, I developed a strong interest in urban culture in 2006 while in Rio de Janeiro photographing Passinho dancers in the city’s favelas. At about that time, I started paying more attention to the background, and I began using abandoned buildings as settings. And back here in NYC, I often combined my visits to MoMA PS1 in Long Island City with 5Pointz, where I particularly loved photographing B-boy battles.

Are you formally trained as a photographer?

No, I studied Business, and I earned an MBA degree from the Vrije Universiteit in Amsterdam. But I’ve taken courses in photography at SVA and I’ve participated in B&H’s Event Space workshops. I also ran a Twitter chat focusing on photography.

When did you first become interested in photography?

It was a passion of mine in the late 80’s and early 90’s. And then in the late 90’s, I began getting paid assignments as a travel photographer.

You’ve photographed dozens of artists at work. How have they responded to you?

In general, they’ve been very welcoming. They appreciate my photography skills and the exposure that I offer them. I always ask for permission first, and I share my photos with them. Many artists have become my friends, and it is fun to chat and watch them paint.

What are some of the challenges that you face in the work you are now doing?

Keeping up with all that is happening on the streets; wanting to capture an image when the light is wrong or when there are cars in the way, and trying to help artists by arranging walls for them.

What — would you say — is your current mission?

There is an intrinsic reward in what I am doing – documenting creativity and helping artists grow. And coming from a travel photography background, I would like to get sponsored to photograph street art in different places.

Do you have any particularly memorable experiences from your work here in NYC?

Watching Nychos paint at Coney Art Walls – his amazing raw energy as he sketched freehand.

Any favorite cities?

Rio de Janeiro and London are among my favorites.

Any proud accomplishments from documenting art on the streets?

My proudest accomplishments generally involve capturing someone in the right place at the right time. It’s the split second that makes the difference! I was so happy, for example, to meet and photograph Sebas Rivas from Córdoba in Argentina while he was sitting aside, off on his own — selling his delightful artwork – amidst all the activity at Art Basel in Miami last year.

We’ve noticed that you use your iPhone as opposed to a standard camera to capture images.

Yes. I use the iPhone to photograph just about everything that is not an assignment. Most cameras these days are good. What matters is not the camera – but the eye of the photographer… the composition, the light, the moment. In addition, iPhones are less intimidating than huge cameras. And the entire process is shorter, as I have very little editing to do.

What’s ahead for you?

I’m now off to Art Basel in Miami and I am planning to return soon to Cuba, where there is a burgeoning street art scene.

Where do you think street art and graffiti are headed?

Street art will continue to beautify our cities. It will continue to become more mainstream, and there will be more opportunities for artists. I also suspect that there will be more art activism.

Thank you! And do keep on doing what you are doing! We love it!

Images

1. Beyond on LIC rooftop

2. Meres mural in background with b-boys at 5Pointz in LIC

3. Icy and Sot in Astoria with the Welling Court Mural Project

4. Nychos at work for Coney Art Walls with Martha Cooper with camera

5. Sebas Rivas in Miami

6. Ces photographing his mural at Broadway Junction

All images © Karin du Maire

Interview conducted by Lois Stavsky with Tara Murray

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From São Paulo to New York City: SALMOS Brings FRACTURED FAIRY TALES to the Martinez Gallery in Harlem

November 15, 2016

Born in Brazil in 1982, SALMOS first made his mark in São Paulo’s public spaces and freight trains as ISHI. In 2004, he opened his own tattoo store, and ten years later, he emerged as SALMOS, Sou Artista Livre Mais Ouseda de São Paulo, “the most daring free artist in Sao Paulo.” His current work — both indoors and outdoors — is largely a delightful fusion of graffiti writing and classic comic characters. This past Saturday, SALMOS‘s first NYC solo exhibit, FRACTURED FAIRY TALES opened at the Martinez Gallery. While visiting, I had the opportunity to speak to the artist.

When did you first hit the streets?

Back in 1996-97. I was 14 at the time.

What motivated you to do so?

I was drawn to the streets. Pixação — in particular — inspired me. And I came up with the idea of integrating comical characters into my writing.

Can you tell us something about these characters? What is their appeal to you?

They are magical! They fuse the nostalgia that adults feel with the mystification children experience.

And how do you choose your characters? Why — for example — Garfield?

I love the ones that make me feel like I am a kid again! Garfield enchants me!

And what brought you here to NYC?

The amazing opportunity to paint here. New York City is where it all started. The history of graffiti is here in NYC.

And we here in NYC love how writers from places like São Paulo are taking it to another level. We’re so glad you made it here! Have a safe trip home!

Curated by Octavio Zaya, FRACTURED FAIRY TALES can be seen Mon- Sat, 11AM to 5PM, at the Martinez Gallery on 135th Street and Broadway.

Note: Standing to the left of SALMOS is Martinez Gallery‘s noted director, Hugo Martinez.

Photos by Lois Stavsky

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Internationally Acclaimed Brazilian Artist Eduardo Kobra Paints Massive David Bowie Tribute Mural in Jersey City

November 7, 2016

Recently in the news for setting the Guiness Book of World Records for the “latest spray paint mural by a team” with his Rio Olympic-inspired Ethnicities, self-taught Brzailian artist Eduardo Kobra has brought his extraordinary talents to Jersey City. Kobra’s rendition of pop icon David Bowie is the most recent addition to Jersey City’s more than 86 other public art works as part of the city’s Mural Arts Program launched in 2013 by Mayor Steven Fulop. This past Friday, a dedication ceremony was held at Jersey City’s Cast Iron Lofts where I had the opportunity to pose a few questions to the artist.

When did you first paint in an outdoor venue?

Ten years ago.

What inspired you to do so?

Everything I had seen and read about what was happening in New York City.

Can you tell us something about the first huge mural that you painted?

It was in Lyon, France. It was a tribute piece to immigrants in a building that was about to be dismantled.

Approximately how many huge murals have you painted since?

Over 30 in more than 20 countries.

The figures you’ve painted range from pop icons like John Lennon and Bob Dylan to historical figures inlcuding Ghandi and Nelson Mandela. What inspired you to paint David Bowie here in Jersey City?

Bowie’s creativity and vision had always inspired me. I’d actually painted this portrait six years ago on a canvas, and I was delighted to have the opportunity to paint it here in Jersey City on such a tall building. It is my way of keeping his memory alive among people who embrace him.

What was the greatest challenge that you’ve faced these past two weeks since you began painting here?

The height of the building is intimidating! And the mural, itself, is 180 feet tall.

How have folks responded to the mural?

They love it. The response has been overwhelming.

Congratulations! It is wonderful!

Interview conducted and edited by Lois Stavsky; photos by Sara Ching Mozeson

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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Speaking with the Original MSK — Manhattan Subway Kings — in Inwood

November 5, 2016

I met up with several members of the East Coast – and original – MSK crew while they were painting up in Inwood earlier this year. Among the writers I spoke to were: Kister, its current president; Dia One, MSK’s president back in the 80’s and its legendary former vice president, 2 New. (Note: pictured above is 2 New to the left of Dia One).

When was MSK first founded? And by whom?

It was founded in 1982 by MADE and WASE, along with a few other writers who attended IS 52 — right here in Inwood.

Which trains was MSK hitting back in the day?

Any one nearby – the 1 train, the A, the AA, the C, the CC, the RR and sometimes the D and B.

How were the original MSK crew members regarded back then?

All of us growing up in the Heights and here in Inwood had enormous respect for them. Everyone knew them and looked up to them.

Can you give us a sense of what it was like hitting the trains back then?

We followed a routine. Five or six of us would gather in a friend’s house. We’d design an outline. Then we’d rack the paint from a local hardware store. And once we had the paint, we’d pick a yard and sneak in.

And once you got into the yard?

We had to worry about gangs, dogs, cops and stepping on the 3^rd rail. Success was getting out alive and taking a photo.

Do any particular memories stand out?

When three young MSK guys went to the 145^th Street lay-ups and had their cans taken away by members of Jon One’s crew. We had to retaliate, and we ended up eventually beating the crap out of two of them. The drama only continued, and eventually Jon One left NYC for Paris.

As the train era ended in the late 80’s, what surfaces were MSK’s second and third generation hitting?

Mostly highways, rooftops and handball courts. And because we had to be fast, we mostly did bombs and throw-ups. We didn’t have time for pieces – except for occasional ones on handball courts.

Here you have members of all three generations of MSK working together – painting on a legal wall.

Yes, we do it because it’s fun. It’s our way of celebrating our culture.

And how does painting on a legal spot like this one differ from working illegally?

On a legal space like this, we can take our time and make as many changes as we want as we work. But when we paint on walls like these, we can’t get the adrenalin rush that comes with working illegally. It’s not the same — nowhere close! And we miss it!

Images

1. Dia One and 2 New against mural by Frankizm

2. Frankizm at work on tribute mural to 2 New

3. Dia One at work at night

4. Kron

5. Dia One — memorial wall first painted in 1992 and redone, at the family’s request, in 2013 — with Flite, Frankizm, Kister, Cel & Nest

Interview & photos by Lois Stavsky

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Speaking with Montreal-Based Street and Studio Artist Waxhead

November 1, 2016

Toronto native Waxhead moved to Montreal in 2012, where his singular style has surfaced on a range of surfaces from vintage photographs to huge walls. I discovered his distinct aesthetic this past summer while visiting Station 16 and exploring the streets of Montreal. Waxhead‘s first solo exhibit in Montreal, Waxhead: An Installation opens this Thursday, November 3 at Station 16. While in Montreal, I had the opportunity to visit Waxhead‘s studio and pose some questions to him.

When and where did you first get up?

I was 13 when I began tagging along the trackside in Toronto. It was back in 2006.

Who or what inspired you at the time?

I lived right beside the train tracks. I saw graffiti every day. It seemed like the natural thing to do. I didn’t become serious, though, about it until I was 18. That’s when I really got into characters.

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

My mom has always been supportive. ‘gotta love Mom!

Have you any thoughts about the graffiti/street art divide?

I respect the mentality of getting up. But I also appreciate the refined work of street art. I’ve done both.

How do you feel about collaborating with other artists?

I love to collaborate. Among the artists I’ve painted with are: Cry0te, Sbuone and Getso.

What about the movement of street art into galleries?

It’s great when artists can live off their work and have a space to show it. But they must keep the true sense of it.

Have you, yourself, exhibited your art in a gallery setting?

I’ve exhibited in several group shows — mostly in Canada.

What inspires you these days?

Colors, nature, old photos. I love collecting old photos and reworking them.

Are there any particular cultures that have influenced your aesthetics?

I‘ve been inspired by the time I spent in India – particularly the beautiful colors I associate with its culture.

Do you work with a sketch in hand or do you just let it flow?

I let it flow. If I don’t like it, I can always do it again.

Are you generally satisfied with your work?

No! I’m very critical.

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

It’s a great tool for me to connect with other artists and with clients.

Do you have a formal arts education?

No! I’m self-taught. My friends were my best teachers.

What percentage of your time is devoted to art?

All of it. I live my life through my art. I’ve always been drawing.

And is it the main source of your income?

Yes, most of the money I earn is through my artwork.

What is the riskiest thing you’ve done?

I was painting in India – balancing on a wobbly two-story ladder — when a giant bull was about to rub against it.

That certainly does sound menacing! How would you describe your ideal working environment?

Painting outside with friends. I love meeting and talking to people.

How has your work evolved through the years?

It’s become more refined.

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

As far as the street artist — it is to connect people to one another through what they see on the streets. I especially want to connect to the youth in this city.

What about the photographers in this scene? And the bloggers? How do you feel about them?

We need them! What we do needs to be archived.

I certainly agree with that!

Note: Waxhead: An Installation — a collection of Waxhead’s hand-embellished vintage photos — opens this Thursday, November 3 at 6pm at Station 16 and continues through November 14.

Interview by Lois Stavsky

Photos: 1, 2 & 4 Lois Stavsky; 3 courtesy Station 16

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Skillosophy Celebrates Street Art & Graffiti Outside Livestream’s Bushwick Headquarters with: Fin DAC, Rubin, Danielle Mastrion and Lexi Bella, Jerms, Misha T, N Carlos J & more

October 13, 2016

Several stunning new murals recently surfaced on Morgan Avenue and Stagg Street in Bushwick. While visiting Livestream last week, I spoke to visual artist and curator Bianca Romero about Skillosophy, the movement behind these artworks.

Just what is Skillosophy? And when was it launched?

It’s an exhibition/showcase series that takes place four times a year with a focus on multi-disciplinary artists. It was launched last year by the co-founders of Lyricist Lounge & Defiant Ent and Livestream. For this past quarter, Danny Castro — Lyricist Lounge co-founder — and I decided to feature outdoor murals for the fall exhibition during Bushwick Open Studios, in addition to the art that is on exhibit inside the Livestream headquarters.

What spurred you to add this outdoor element to Skillosophy?

Typically, Skillosophy is indoors, inside the Livestream studio space. But we wanted to take it outside for Bushwick Open Studios. It seemed like a great way to give exposure to the talented muralists and street artists, and it was a great addition to our Block Party to have it done live. We loved the communal and public aspect of it.

You’ve done a wonderful job of curating it all. The art both inside and outside is wonderfully eclectic and is beautifully presented. Have you a background in art?

Both my parents are artists. My father, in fact, was a pioneer in graphic design and has taught design at the School of Visual Arts and at the Parsons School of Design. My mother was a fashion designer, and I, myself, am an artist.

And can you tell us a bit about Livestream? When was it first founded and what is its mission?

It was founded in 2007 with the mission to make any every event available live online through video.

And how has Livestream responded to Skillosophy?

The love it. They’ve thoroughly embraced it. They love the idea of bringing the extraordinary talents of Bushwick into our offices. A walk through our offices — that are covered with work by local artists — is like a walk through the neighborhood!

Who is Skillosophy‘s audience?

All art lovers! Anyone who loves any aspect of art — music, dance, film or visual art. The venue has hosted hip-hop shows, film industry mixers and skillshares in addition to art exhibits. We’ve had a very diverse audience…from working class folks to art collectors to party people!

How can folks best keep up with your events? And how can they arrange a visit to Livestream‘s headquarters for private viewings of the indoor art?

They can follow Skillosoph y on Instagram, and they can contact us at skillosophyshow@gmail.com to schedule a private viewing and inquire about pricing and events. And any artist or performer interested in participating in a future Skillosophy exhibition and showcase can contact as at this email, as well.

Images

1 & 2 Fin DAC at work

3 Rubin at work

4 Danielle Mastrion and Lexi Bella

5 Jerms

6 Misha T

7 N Carlos J

Photo credits 1-5 & 7 Karin du Maire and 6 Tara Murray; interview with Bianca Romero conducted by Lois Stavsky

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Speaking with Queens-Based Photographer and Street Art Aficionado Raphael Gonzalez aka Zurbaran1

October 11, 2016

For the past several years, Queens-based photographer Raphael Gonzalez aka Zurbaran1 has been creating intriguing, visually dynamic images of street art, often focusing on the artists at work. Within the past year, his photos have made their way into several shows including his first solo exhibit, The Hand of An Artist. He has also been featured in Yoav Litvin‘s blog, 2createart. I recently had the opportunity to meet up with him.

I love what you are doing! When did you first begin to photograph NYC’s street art and graffiti?

About four years ago.

What inspired you to do so?

Several years ago, my daughter visited Berlin and returned home incredibly excited about the street art she had seen there. Her enthusiasm, along with the photos that she showed me, inspired me to check out what was happening on the streets of NYC. And I first became serious about it all in October, 2013 when Banksy hit NYC with his month-long day residency Better Out Than In.

Within the few years that you’ve been shooting street art, you seem to have established friendships with many of the street artists you photograph. Can you tell us something about that?

The very first street artist I met was Alice Mizrachi. I was standing in front of her mural at Welling Court when she noticed me. She was living right there at the time, and — almost at once — came out in her pajamas to speak to me! I was so impressed by her intelligence and craft. I photographed her in front of her mural, and we struck up a friendship right then. She was the first street artist I photographed and spoke to. Since that day, I’ve become friends with many more.

You’ve been photographing many artists as they work. How have they responded to this? Are they open to it?

The response has been great! And when I share the photos I’ve taken with them, they are so appreciative.

That’s great! As street art is so ephemeral by nature, it’s so important to document it. And I’m a huge fan of artful photographers who document the process. I notice that you’ve focused quite a bit on the artists’ hands.

Yes, I like observing their hands in action. And photographing hands gives me a chance to use my long lens which I love doing!

And you’ve also begun collaborating with some of the street artists whose works you photograph. How do you go about engaging them?

Yes! I love collaborating. The process makes me think a little differently, and the artists have been wonderful. Among them are Fumero, Giz, Trans1, Noir, City Kitty. Some I’ve approached, and others have approached me.

What are some of the challenges that you face in seeing your projects through?

There’s never enough time. And there are so many artists! Going through all the photos that I take and then editing them is a lengthy, time-consuming process.

How has the scene changed since you first started photographing street art?

There are fewer walls, and street art has become more commercial. And it seems that in the past few years, street artists have achieved celebrity status. It’s almost like they are the new rock stars!

What’s ahead for you?

I would like to engage in more collaborations…different in nature than the usual ones!